The original article can be found at Bloody-Disgusting.com.
This decade gifted us a plethora of auteur filmmakers that brought something completely fresh to the horror genre, while still managing to derive influence from beloved classics of the past— Jennifer Kent, Issa Lopez, Robert Eggers, Jordan Peele— to name a few. But there’s one creator in particular who has excited myself and many others to next-level degrees with his assuredly eccentric, provocative, ballsy filmmaking style: Ari Aster.
The original post can be found at Bloody-Disgusting.com under “featured editorials.”
2009 big-budget studio horror was chock-full of lifeless remakes, satirical horror-comedies, and even emerging fresh takes on zombie movies, but slow-burn, ‘80s-inspired nostalgia— which we now see in droves— was never really on the slate…that is, until the masterful combo of a little slasher/Satanic cult/haunted house indie called The House of the Devil came along.
The original post can be found under “Reviews” at Bloody-Disgusting.com
“This is not releasable,” Ari Aster joked, as he introduced his “more complete” Director’s Cut of Midsommar in New York this past weekend.
The original post can be found under “Editorials” at Bloody-Disgusting.com.
There is a very specific reason why I asked my mother to return the many porcelain dolls she bought for me when I was a kid: I watched too many horror movies. Porcelain dolls, baby dolls, life-size dolls, and especially ventriloquist dummies: I had seen far too many of those damn things open their eyes, come to life, and kill people in movies, and I wanted no parts of it.
Aleksandra Cwen in Hagazussa (Courtesy of Doppelganger Releasing)
Coming off 2018– a highly sociopolitical year that contained multiple depictions of witches, femininity, and black magic within horror through the likes of Suspiria, Pyewacket, and Chilling Adventures of Sabrina– Lukas Feigelfeld’s debut feature film Hagazussa: A Heathen’s Curse, which has been circulating the festivals since fall 2017, will finally be available to audiences this month. And although a slightly different take on witches than we’ve been seeing as of late, Hagazussa is arguably the most subtly gut-wrenching.