Mirrors can play many roles in films. (Narcissistic) film characters can utilise them to satisfy their vanity (“Gone with the Wind” (1939)); to ego-boost (“Taxi Driver” (1976) or “La Haine” (1995)); for self-examination or to marvel at their transformation (“The Aviator” (2004) or “Vanilla Sky” (2001)); or films use them for dramatic showdowns (“The Lady from Shanghai” (1947)), among many other roles and meanings. However, in this piece, I would like to focus on three interpretations in particular: (i) the usage of mirrors as they demonstrate the character’s dual nature (often revealing the character’s evil/bad nature when that character otherwise appears good); (ii) mirrors used to emphasise secrecy or to reveal secrets; and (iii) the use of mirrors as certain clandestine passages to the Otherworld.
Psycho  – ★★★★★ 🚿 A true classic which stood the test of time, revolutionising the presentation of horror on screen and showcasing Hitchcock’s unparalleled talent for creating suspense. Adapted from a novel by Robert Bloch, this film is a classic of psychological horror genre, which practically revolutionised the way horror films were shot ever since…