Introduction
In The Cramps: A Period Piece, a blossoming young woman, Agnes Applewhite (Lauren Kitchen), gets a job as a shampoo girl at a lively beauty salon, which goes against the wishes of her traditional family, including her sanctimonious mother and tightly wound sister. As she begins this newfound journey to find her true self, she suffers from debilitating menstrual cramps, which blur the line between reality and nightmare for her and those around her.
Part comedy, part fantastical horror, and wholly unforgettable, Brooke H. Cellars’ The Cramps: A Period Piece takes the audience on a mesmerizing trip where John Waters’ irreverence meets the macabre stylings of Mario Bava, all wrapped in the dreamlike allure of Federico Fellini!
Meet the Director
Brooke H. Cellars is a multifaceted filmmaker. She has directed eight short films since 2018. Her adoration for all things horror started when she was a kid. Her father was a children’s book writer and, starting early on, has been writing stories that were always horror-themed.
Brooke’s first screenplay, which she turned into a short film called The Chills, won Best Screenplay at Houston Horror Fest in 2020. Her most recent short film, Violet Butterfield: Makeup Artist For The Dead, has screened in over thirty film festivals worldwide and has won multiple awards, including the Abby Normal Award at Portland Horror Fest, the Audience Award at Final Girls Berlin, and both the Jury and Audience awards at Overlook Film Festival.
Interview
Cinema Scholars’ Glen Dower sat down with director Brooke H. Cellars to discuss her outrageous and heartfelt new feature, The Cramps: A Period Piece. A wild blend of comedy, horror, and lived experience, the film turns the taboo subject of menstruation and the director’s own struggles with endometriosis into a bold, cathartic work of art.
Lightly edited for content and clarity
Glen Dower:
Ms. Cellars, how are you, Ma’am?
Brooke H. Cellars:
I’m doing great, thank you.
Glen Dower:
Excellent. Now, we’re here to talk about The Cramps: A Period Piece. On the surface, it’s a horror-comedy about menstruation—a subject men famously squirm around! But once I saw the marketing images and read the synopsis, I had to give it a chance. And I’m so glad I did. The anachronistic language, the overdubbed dialogue and sound effects, the sheer absurdity—it had me laughing from start to finish, even if I had my queasy moments. But let’s start at the root: how did your personal experiences inform the story?
Brooke H. Cellars:
I’ve lived with undiagnosed endometriosis for most of my adult life. I didn’t get a diagnosis until my mid-30s. For years, it felt like something was eating me alive from the inside, while nobody believed me. That constant pain felt like a horror movie, and it stopped me from living a full life. When I started making films, I knew I wanted to bring that experience into my work.
Glen Dower:
So the filmmaking itself was almost therapeutic for you?
Brooke H. Cellars:
Absolutely. Making The Cramps was very healing and cathartic. It let me channel not only my medical struggles but also my family life and the process of finding my voice. I spent much of my life shy and suppressed. Making this film was like opening the floodgates—I’m no longer afraid to say exactly what I want.
Glen Dower:
Let’s talk about Agnes, your lead character. She feels like a vessel for your younger self: shy, quiet, unable to express what’s wrong.
Brooke H. Cellars:
Yes, Agnes is very much an extension of me. She knows what she wants but struggles to express it. Casting Lauren Kitchen was almost spooky—my husband constantly says how similar she is to me. Despite being twenty years apart, Lauren and I share uncanny traits.
Glen Dower:
I loved the character instantly, but one sequence really stood out: the beauty salon. I could watch those three women all day, in fact, can you please give them their own movie or mini-series?! It reminded me of Steel Magnolias with a very surreal twist. How did you form that trio?
Brooke H. Cellars:
That salon is one of my favorite parts. Each character came from ideas I’d been developing for years. For instance, the “church lady Satanist”—she’s been a dream character of mine. Growing up Catholic, I was taught to fear the devil. But as an adult, I realized that fear was misplaced. To me, Satan now represents the darkness we’re told to be afraid of, when in reality, it’s not so scary. Then there’s Holiday, a glamorous fashionista who’s an absolute mess. She’s delusional, but she looks fabulous doing it. For me, the point is: if you love something, even if you’re terrible at it, do it anyway.
Glen Dower:
Let’s give the flowers to Wiccan Taylor as Teddy Teaberry, and Michelle Malatina as Holiday Hitchcocker—those names alone had me grinning.
Brooke H. Cellars:
Details matter! I wanted every name to feel memorable.
Glen Dower:
And then there’s Martini Bear as Laverne Lancaster. What a performance—just hysterical, unforgettable! I have been quoting Laverne all week since I watched the film.
Brooke H. Cellars:
Martini is incredible. I met him while teaching my first film class. He’s such a unique personality that I wrote roles with him in mind, including in my short, Violet Butterfield: Makeup Artist for the Dead. As Laverne, he becomes the mother figure Agnes always needed. His warmth and humor embody the nurturing presence her biological mother never gave her.
Glen Dower:
The film opens with curtains; only three locations, minimal sets, and practical effects give it a stage-play feel. Was that intentional?
Brooke H. Cellars:
Yes. We shot in a vintage theater in Franklin, Louisiana. I loved creating that theatrical, old-school aesthetic. Directing the opening scene was one of the most fun experiences I’ve ever had—it awakened something in me. I’d love to adapt parts of the film, especially the salon, into a stage production someday.
Glen Dower:
I’d be first in line! Now, you’re premiering the film at Fantastic Fest. How does that feel?
Brooke H. Cellars:
Surreal. Fantastic Fest has always been a dream festival for me. I still can’t believe we’re screening there, especially with our feature debut. Being part of the New Wave competition for fresh directors is thrilling.
Glen Dower:
What kind of reactions are you expecting? Laughs, screams, riots?
Brooke H. Cellars:
Screams, laughter, riots! I’d take them all. I think Fantastic Fest is exactly the right audience for The Cramps. And honestly, I’m looking forward to the bad reviews just as much as the good ones—they’re bound to be hilarious.
Glen Dower:
You’ve already got one positive review from me. Brooke, thank you so much for your time. I’ll be waiting for that stage play spinoff of the salon!
Brooke H. Cellars:
Thank you, Glen, I’d love to make that happen one day just for you!
The Cramps: A Period Piece is part of the Fantastic Fest 2025 Official Selection. The film had its premiere on Friday, September 19th, and will be screening at the following:
