Ekaterina Tsvetkova

Alongside my work as a writer and cinema operations manager, I have experience curating in-house staff screenings and developing themed film programmes. My programming interests centre on psychological cinema and genre-driven storytelling, particularly horror, alongside audience-focused and seasonal programming that balances accessibility with critical depth. This page outlines both practical and proposed programming work.

Over the past year, I have curated and hosted regular in-house staff screenings within a cinema environment, selecting themed films and providing brief contextual introductions and discussion points.

Selected screening themes include:

• Psychological Identity in Contemporary Cinema
  Secret Window (2004), Identity (2003)

• Isolation & Subjectivity
  American Psycho (2000), Taxi Driver (1976)

• Women, Trauma & Agency
  The Gift (2000), Mulholland Drive (2001)

Seasonal Programming: Horror & Psychological Cinema

A seasonally responsive programme designed for periods such as Halloween and winter, combining psychological horror and genre-driven films with broad audience appeal. The programme balances atmosphere, accessibility, and thematic cohesion, while encouraging audience engagement during peak seasonal moments.

Films:

1. Scream Trilogy (1996-2000)

2. The Shining (1980)

3. From Hell  (2001)

4. Sleepy Hollow (1999)

Female Subjectivity & Psychological Horror

A curated season examining women-centred psychological cinema, focusing on interiority, repression, and autonomy.

Films:

• Jennifer's Body (2009)

• Black Swan (2010)

• Basic Instinct (1992)

• Barbarian (2022)

Programme Note: Mulholland Drive (2001)

David Lynch’s Mulholland Drive is a psychologically driven exploration of identity, desire, and disintegration, centred on female subjectivity and the instability of self. Set against the dreamlike backdrop of Hollywood, the film unfolds through fractured narratives and shifting perspectives, inviting the audience into a world where memory, fantasy, and reality are difficult to separate.

Rather than offering clear explanations, Mulholland Drive immerses viewers in a subjective experience shaped by isolation, longing, and emotional repression. The film’s focus on interior states — boredom, desire, fear, and loss — reflects how inner lives can distort perception and undermine everyday functioning. Female identity is presented as fluid and vulnerable, shaped by both personal aspiration and external pressure.

Programmed within a strand exploring psychological identity and subjectivity, Mulholland Drive encourages audiences to engage intuitively rather than analytically, rewarding attention to mood, repetition, and emotional resonance over narrative certainty.

Mulholland Drive (2001) is a psychological thriller that focuses on women as main characters and victims of identity crisis. It shows how boredom and isolation can affect everyday functioning and happiness.