Louise Weard

@weard

maker responsible for all unnecessary sex scenes

309 Following3,882 Followers2,125 Posts

Website Website Bluesky

fetish trans

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Louise Weard@weard· 23d

Louise Weard and Avalon Fast at Fantasia Film Festival, standing in front of the Castration Movie 3 poster designed by stupid twink, featuring Avalon’s character as a drawing standing next to a coffin.

Louise Weard@weard· 24d

shirt available now castrationmovie.com

aoife josie clements wearing a castration movie 2 t shirt. on the shirt is lex walton holding the geese gun with the text “will the circle be unbroken”, designed by remy boydell

Louise Weard@weard· Jul 4

Louise Weard@weard· Jul 1

Grab a copy with this sick artwork by the one and only @chuunitoons.bsky.social

Castration Movie Anthology ii. The Best of Both Worlds Blu Ray artwork by Cate Wurtz, featuring a drawing of Lex Walton holding a gun to her head while light shines down on her.

Louise Weard@weard· Jun 20

pam from the office: “it’s the same picture”

Louise Weard@weard· Jun 18

tomorrow is last day for late kickstarter perks www.kickstarter.com/projects/wea...

Louise Weard@weard· Jun 13

count me out of the Youtuber filmmaker club then lmao

Hi Louise Weard,

We have reviewed your appeal for the following:

Channel: Louise Weard

We reviewed your channel carefully, and have confirmed that it violates our sex and nudity policy. We know this is probably disappointing news, but it's our job to make sure that YouTube is a safe place for all.

How this affects your channel

We won't be putting your channel back up on YouTube.

Learn about your resolution options.

Thanks,
The YouTube team

Louise Weard@weard· Jun 12

tl;dr Castration Movie Chapter iii.ii Junior Ghosts—Premorphic Drift; a fragmentary passage is its own movie as a sort of Castration Movie Part 2.5 and Anthology iii. Year of the Hyaena is its own unique movie coming in 2027.

I also wanted to give an update for the release date of Anthology iii. -- as of right now it looks like we will be pushing it back to 2027. I want it to build on the momentum of Chapter 3.2 and there's some great scenes we have left to film, so I'll be shooting for the next several months to get it to perfection. Once again, if you pledged for the online premiere ticket, tune into the Discord as there will likely be the random chance to see some test screenings of certain sequences as I work on it. We are currently planning to split Chapter 3.2 Junior Ghosts-Premorphic Drift out as its own movie (consider it Castration Movie Part 2.5) as Anthology iii. is pushing five hours without it and the story flows better this way as we are moving a planned arc from Anthology iv. into Anthology iii. This feels like the best way to present the overall story of Castration Movie and it means there will be more movie sooner. Our anticipated release date for Anthology iii. is now early 2027, so Chapter 3.2 will be having it's full release in the Fall.

Louise Weard@weard· Jun 3

canadian friends, write your MP about this one if you want better canadian content www.canada.ca/en/canadian-...

In 2023, the Parliament of Canada passed the Online Streaming Act to update Canada’s broadcasting system for the digital age. On May 21, 2026, the CRTC, which is responsible for implementing the Act, announced new requirements for large foreign streaming services and Canadian broadcasters to spend a portion of their Canadian revenues on the acquisition or production of Canadian programming.

The CRTC’s new requirements would impose new costs on the companies providing these services, which could ultimately fall on Canadian consumers through higher prices. At a time when Canadians face cost-of-living pressure, now is not the time to make culture and entertainment more expensive.

To that end, the government will develop new policy directions to adjust the implementation of the Online Streaming Act.

Louise Weard@weard· Jun 1

Use the code PRIDE26 to get Castration Movie for 50% off at digital.louiseweard.com

Henri Gillespi and Avalon Fast smoke cigarettes on a stoop

ivy wolk facepalms with dialogue “I like Bushwicked too close to the fucking sun a little.”

Louise Weard@weard· May 18

legends only

felt pen written on a restaurant ceiling
“avalon+louise
camp miasma 2026

team vfx emilia perez 18.05.24”

Louise Weard@weard· May 15

Camp Miasma team at the Cannes premiere.

Louise Weard@weard· May 14

movie is amazing

seats with paper saying avalon fast and louise weard

louise weard poses in front of “little death is coming” poster at camp miasma premiere party

avalon fast posing in front of the same poster

Louise Weard@weard· May 13

we will be on that carpet in a few hours. unbelievable lol

Louise Weard@weard· May 11

on my way to cannes :3

Louise Weard@weard· Apr 26

last campaign had this limited edition vhs of my castration mixtape. still time to grab the castration movie chapter iii vhs before we order our limited stock.

louise holds a vhs tape that says "louise weard's castratin mix tape: the 100 best kills live show" with art that is crudely drawn dicks being cut up and shot and lit on fire.

back cover of the castration mix tape with three black and white images. louise stands on stage at fantastic fest with a microphone.

Louise Weard@weard· Apr 3

missed this one youtu.be/dVwcedy9sG4?...

Lex Walton holding a revolver to Emily Green in Ezra Furman music video

Louise Weard@weard· Apr 1

April Fools!!

Criterion Channel web page 404 error. Sorry!

Louise Weard@weard· Apr 1

holy shittt

Criterion Channel web page with Castration Movie Anthology i. Traps.

Louise Weard@weard· Mar 28

But, in terms of the history of trans cinematic representation and of trans feminine cinematic representation, it’s so often expressed as, like, a trope of the trans woman sex worker who’s, like, a dead body on a CSI or whatever, SVU type show.

This idea of like the dead trans sex worker’s body as an object of fixation within the cinema is very interesting. And I think that, for me, it was really important to pull that character more towards something in real life that humanizes her and deepens her and makes the sex work the least interesting or significant part of her identity. It’s kind of a way of, like, interrogating the existing images of trans feminine bodies on screen and also presenting something that’s very real. You know, like, lots of my friends are sex workers, that’s a community I’ve been a part of, why not make a film that depicts it in a way that’s sophisticated and mature.

Film Obsessive website.

FILM FEATURES, FILM INTERVIEWS
DIRECTOR LOUISE WEARD TALKS CASTRATION MOVIE

image of Louise Weard of Castration Movie

by CM MCCAMBRIDGE

Louise Weard@weard· Mar 28

like, mythological structure to it. I have very traditional structure to my work where his doesn’t. I was a big Joseph Campbell fan, I love the idea of, like, monomyths and sort of like what I’m trying to tap into in terms of the storytelling of Castration Movie is like, you know, taking a story about a sad, lonely trans sex worker and making it like something that has, like, an Odyssean quality to it.

Or, you know, Part ii is very like an orphic tradition, like Dante’s Inferno and Paradiso and stuff like that. I have high literary benchmarks, and my cinematic benchmarks are moreso from the more experimental art world and early cinema. I think those are the cleanest answers to that question. You know, actually? I will add I’m such a bottomless pit of hunger for art, like the influences on this are, like, everything I’ve ever seen or read, or every conversation I’ve encountered on a street or heard in a coffee shop.

conversation I’ve encountered on a street or heard in a coffee shop. It’s like I want to take in everything and it’s about that, like, just relationship to life and all the art contained therein that is an inspiration on this project. Which is easy to say when it’s like 25 hours long, I can just say that everything’s an influence on it.

Louise Weard as Traps in Castration Movie having her photo taken in lingerie.

Louise Weard as Traps in Castration Movie. Photo courtesy of Muscle Distribution.

Film Obsessive: So you mentioned Louise Brooks’ performance as a sex worker, did that kind of lead to you making Traps a sex worker in Part i?

Weard: No, I mean actually that’s part of it. I think that there’s something about the idea of the sex worker with the heart of gold—it’s just such a classic suffering woman archetype. I see that in Leaving Las Vegas, which is one of my favorite movies. It’s, like, probably one you can draw really direct influences to. I mean, even the idea of women just in any sort of position by which they are, like, selling their body or using their body, even beyond sex work, it’s such a common trope in cinema, like the depressed circus performer, like La Strada or Wings of Desire, any of these sorts of projects, there’s so many. You know, the suffering woman is the perfect archetype, the ‘woman in trouble’ as David Lynch would put it. And I think that goes all the way back to at least Louise Brooks. I mean, we have damsels in distress, like Lillian Gish in The Wind, that’s another Victor Sjöström movie.

I mean, we have damsels in distress, like Lillian Gish in The Wind, that’s another Victor Sjöström movie.

We’ve always had like women in distress, and not just like damsels in distress, I mean, like women in distress in the way of their interiority—they’re not just an object to be saved it’s like, no, within the history of cinema, because early cinema is all immigrants and women, we’ve always had a great interiority towards female characters, even in movies directed by men. I feel it’s very linked to what the cinematic form is capable of, and where a lot of its language comes from is the interrogation of the mind of the suffering woman. To me, it’s something universal. It’s like, to have my character be a suffering sex worker on one end, it’s like what other character could she be, she’s a woman in a movie. But, in terms of the history of trans cinematic representation and of trans feminine cinematic representation, it’s so often expressed as, like, a trope of the trans woman sex worker who’s, like, a dead body on a CSI or whatever, SVU type show.

Louise Weard@weard· Mar 28

This is such a phenomenal interview. One of the few times I’ve talked about the artistic influences on Castration Movie.

Film Obsessive: So, to lighten it up a little bit, what or who would you say are some of your biggest influences as a filmmaker?

Weard: Oh, that’s a really good question. I try to always try to mix up the answers to this. I’m really a huge fan of silent cinema, or maybe more appropriately, early cinema, like pre-sound-era cinema. I mean, there was always sound, people played music, so silent isn’t an appropriate term. But, G.W. Pabst’s adaption of Pandora’s Box is phenomenal, I’m also a huge huge fan of his movie Diary of a Lost Girl starring Louise Brooks, where I took my first name from her. She’s one of my favorite actresses of all time. I’m a huge fan of those because they’re very intimate human portrayals of sex workers. Both as movies from 1929, it’s honestly just, like, phenomenally beautiful to see something, especially, like, Louise Brook’s performance as the lead characters in both of those are just kind of awe inspiring

especially, like, Louise Brook’s performance as the lead characters in both of those are just kind of awe inspiring, and I try to match her acting prowess in my own performances and I think that the way that Pabst frames the close up in those movies really gets to the heart of the character’s soul.

In those movies, where you’re in the era pre-sound and all you can really gaze upon is the expression on an actor’s face, and that becomes so important to the close-up cinematic language of Castration Movie. I would say there’s like a lot of those early filmmakers—there’s a lot of early cinema filmmakers who do that same thing that I’m talking about, like there’s a great film called A Man There Was by Victor Sjöström that is like another one of those movies I’m just like so blown away with. I think it’s like an Ibsen adaptation or something? Which I was definitely reading a lot of

Which I was definitely reading a lot of—I took a great class on Scandinavian literature and theatre when I was in university, so I became very enmeshed in, like, the sort of very dreary, sad, upsetting sort of tradition of Scandinavian storytelling, that, like, brutal realism. And, you know, silent cinema or early cinema I’m happy to talk about as an influence, because when we cut Lex’s hair at the end of Castration Movie Part ii, that’s such a Dreyer shot, that’s me trying to make Lex like fucking Joan of Arc you know?

I would say those are my biggest film inclinations on one end, and then in terms of, like, the personality around Castration Movie, I’m a big fan of Matthew Barney, the abstract filmmaker and visual artist who’s work in the 90’s like The Cremaster Cycle was like, or like Drawing Restraints, were really, really influential on me in terms of how to approach gender as, like, a construct that you can then find film language to depict.

gender as, like, a construct that you can then find film language to depict. Like his series of films The Cremaster Cycle are exceptionally important to me. This, like, ten hours of content that are fully around using cinematic form to interrogate concepts around masculinity, so that film language is very important to me. So is his imagery, and that’s very important to me.

And then I would say Andy Warhol is a big inspiration to me, both in terms of the community building that you do, in terms of like pulling together all these cool marginalized artists who don’t really have, like, a platform elsewhere—let’s get all these freaks together and let’s make some crazy stuff, it’s really exciting to me. And also, like, his work is very durational, very improvisational. I would say we defer the most in that my work has very clean, almost, like, mythological structure to it.

Louise Weard@weard· Mar 24

dawn of the final day

castration movie anthology iii now on kickstarter
image or angel holding a crucifix

chalkboard text of chapter three junior ghosts—premorphic drift

michaela from castration movie as pregnant skunk fursona with cutout showing pangolin fetus and text “i loved you since before you were born…”

Louise Weard@weard· Mar 21

me and Avalon Fast at BFI Flare

louise weard and avalon fast stand in front of a projected screenshot of castration movie part 3 with henri gillespi and avalon smoking cigarettes

Louise Weard@weard· Mar 19

Also on Kanopy

Louise Weard@weard· Mar 18

There is one week to go in the Castration Movie Part 3 campaign <3 www.kickstarter.com/projects/wea...

Aoife Josie Clements as Adeline. She has a blonde wig on and an unlit cigarette in her mouth.

Louise Weard as Michaela and Ada Rook as Sora in Castration Movie Part 3. Michaela holds a white object with a horrified expression on her face as they sit under a christmas tree.

Henri Gillespi as Trent and Avalon Fast as Izzy in Castration Movie Part 3. They smoke cigarettes on a stoop.

Louise Weard as Michaela in Castration Movie. Shot on 16mm film, she stares down the camera with smeared makeup on while smoking a cigarette.

Louise Weard@weard· Mar 17

Weard was praised by the Sicilia Queer fest for pioneering a “radically nonconformist — but also rebellious and romantic, comical and humanist” body of work that “can truly be called ‘New Trans Cinema.'”

The fest added: “Through these two figures, the SQFF confirms its role as a hotbed of exploration and discovery and will host an unprecedented intergenerational dialogue, a symbolic passing of the baton from a director who has helped shape visions of freedom and revolutionary fantasies to a filmmaker who today explores the contradictions and paradoxes of the queer community with pathos and humor, highlighting the need for new forms of freedom.”

Louise Weard@weard· Mar 16

this movie survives 21 years later thanks to 11-year-old me learning how to author a DVD (complete with making my own cover art and booklet)

a dvd copy of Night School with art of a vampire with a stake in its heart

a dvd booklet with special features and scene selection.

Special features
includes clay version
directors corner
deleted scenes
bloopers and a cast photo

scenes
openinging sequence
detention
finding chris
vampires
the showdown
the final showdown
credits

features directors cut deleted scenes bloopers and much more. you have not scene night school until you see the clay version. night school is a new era of horror with great special effects and cool new footage. it will surely make you scream. the unbitten version addition will give you nightmares and will make you scream. if you do have the original you will see the difference in hd tv. look out for the soundtrack!

Louise Weard@weard· Mar 16

We soared so high on our crowdfunder that I was obligated to post the short film I directed in 6th grade in our castration movie server. Get in on this and so much more here www.kickstarter.com/projects/wea...

Louise Weard@weard· Mar 14