How Ari Aster Embraces Horror Conventions to Create His Own Unique Contributions to the Genre (Originally Published for Bloody Disgusting)

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The original article can be found at Bloody-Disgusting.com.

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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.   

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A Love Letter to Great Indie Horror: THE HOUSE OF THE DEVIL Turns 10 (Originally published for Bloody-Disgusting.com)

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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.

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MIDSOMMAR Director’s Cut Adds (Even More) Depth to the characters REVIEW [Originally published for Bloody Disgusting]

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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. 

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10 of the Most Unsettling Moments in Doll Horror (Originally published for Bloody-Disgusting.com)

The original post can be found under “Editorials” at Bloody-Disgusting.com.

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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.

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‘Hagazussa: A Heathen’s Curse’ is one of 2019’s first horror masterworks

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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.

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Interview with ‘Hagazussa’ writer/director Lukas Feigelfeld

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(Doppelgänger Releasing)

I had the opportunity to speak with Hagazussa: A Heathen’s Curse writer/director Lukas Feigelfeld about his highly anticipated feature film debut, his transition into filmmaking, his visual style, Pagan folklore, comparisons to The Witch, “elevated” horror, and his sympathy for female witches.  (You can read my review for Hagazussa here.)

The film’s synopsis, according to its Doppelgänger Releasing site page:

In a remote Alpine village in the 15th century, the orphan Albrun grows up to become a marked woman.  The scapegoat of ancient superstitions and monstrous misogyny, this self-styled witch begins to assert her otherworldly birthright.  The plague she conjures makes human cruelty look pathetic and small by comparison.  This atmospheric debut feature from Lukas Feigelfeld is a haunting Pagan death trip and a startling vision of psychedelic horror.

Bloody Disgusting and Doppelgänger Releasing presents Hagazussa: A Heathen’s Curse, opening in limited theaters on April 19, and will be available on VOD, DVD, and Blu-ray on April 23.

Read on for our conversation. (Special thanks to Bloody Disgusting and Margarita Cortes.)

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