Unassuming copy editor Dorine Douglas is given a hard time in her job with the weekly magazine Constant Consumer, where she’s been slogging away for the past seventeen years. Everyone treats her disrespectfully and offloads their work onto the mousy colleague. Then a computer system is introduced. The new manager streamlines processes, fires half the workforce and orders the underpaid Dorine to work from home. And waiting for her there is her mean, invalid mother who bullies her even more.
Her only connection to the office is the computer and a new e-mail account. On her last day at work, Dorine inadvertently electrocutes the paper’s star reporter. She decides to take matters into her own hands and continues murdering people in all kinds of inventive ways, using her new computer skills to cover her tracks and cast suspicion on her colleagues. No one is safe from her anymore. Down in the cellar, Dorine arranges her numerous victims in various states of decay with increasing zeal.
In her only feature film, Cindy Sherman remains true to the mood of her photographic work, even if she officially distanced herself from Office Killer as part of her artistic oeuvre. Image composition – camera angle, lighting, decor, make-up, pose, the overexaggerated and stereotypical characters – not a single detail in this film is left to chance. With pointed cynicism and a bizarre protagonist, Office Killer transcends the boundaries of the horror thriller, liberating itself from the conventions of the genre that it so masterfully cites. (BS)

Film Series Kaleidoscorpse