When Devil’s Legacy was released, no one really knew what it was about. Ari Aster’s feature debut was a mixture of drama about brutal family grief and folk horror. But as the production began its journey through festivals and limited release, it became clear that it was about more than that. The twisted combination of women’s suffering in the midst of unimaginable tragedy and family secrets made the film unclassifiable. So much so that it almost immediately takes its place among modern cinema classics.
But Astaire’s work is more than just a good movie, which is what it is. She also pioneered a generation of stories in the genre based on a terrifying combination of different settings. From the fear of the dark, the search for purpose and the desire to die. The new horror classic focuses not only on surprise and fear, but also on more complex human emotions. This forces him to create disconcerting scenarios that challenge the imagination and courage of the audience.
We leave you with five weird horror films that you should watch if you’re a fan of the genre. From a version of a terrifying doll that becomes more inconvenient and disgusting by the minute, to a teenage game that leads to a bloodbath. This is a collection that shows that horror cinema is in complete transformation, reaching new depths and perspectives. One of the most important elements of the genre today.
Stopmotion
Ella Blake (Aisling Franciosi) is the artist of the titular cinematic technique, carrying a double burden of responsibility on her shoulders. On the one hand, he must complete a project that, due to the sudden illness and death of his mother, was left half completed. On the other hand, bear your loss as best you can. Meanwhile, he tries to survive possibly the worst time of his life.
But things will get worse when the suffering begins to show through his collection of handmade dolls. Director Robert Morgan manages to create a bridge between the film’s version of evil – a door waiting to be opened – and Ella’s fear. Especially when the horrors she experiences (or believes she experiences) push her to the limits of sanity and perversion that turns the film into a sickening experience.
Try Amazon Prime Video fully free for 30 days and enjoy the full catalog of the platform without restrictions. Just by registering you will have instant access to the best films and TV series, as well as free shipping on Amazon and other benefits.
Stopmotion This is not a simple film, there are many different versions of self-criticism, psychological violence and emotional abuse. But by the end something becomes clear. What lies behind Ella’s dolls is more terrifying and cruel than you can imagine. The creepiest aspect of the film.
Parasites: Plague
Sebastien Vanicek turns the script he wrote into perhaps the best exploration of phobias done in a horror film in a long time. But it’s also a way of using the common trope of insects and dangerous creatures attacking from a different perspective. The capacity for horror that disgust and revulsion can entail.
Caleb (Theo Christina), an unemployed young man going through a personal crisis, will eventually become the vehicle to bring the horror of poisonous spiders to his neighbors. Soon what begins with an almost childish gesture of conservation If the insect is in a safe place, it will become something worse and more dangerous.
The director turns the dark spaces of the building in a deplorable state into a fatal landscape. Gradually, larger and larger spiders will become a threat to a new level. But it’s also a starting point to demonstrate that horror is more than just a visible threat. That is, when the victims also demonstrate their inner darkness. The best approach to the subtext that the director manages to reveal in his film.
Speak no evil
Don’t talk to strangers is a rule that every self-respecting, responsible parent has said before or since. This is a point that director Christian Tafdrup explores in his own story, taking it to increasingly crazier and darker consequences. When a Danish family decides to go on holiday with someone they’ve just met, a series of events soon follows: seemingly unrelated to each other, will lead them to a bloody catastrophe.
The above occurs against the backdrop of the characters’ constant attempts to avoid discussions and direct confrontations. The director takes the idea of politeness and good manners into twisted and then horrifying terrain. Much more when he plays with humor to hide the true intentions are hidden beneath the apparently satirical arguments.
In the final scene – one of the most brutal in modern horror cinema – death becomes an atonement for guilt, pain and, especially, hidden violence. All this happens in the middle of a creepy scenario that makes Speak no evil a rare work that brings together modern fears and paranoia in one place.
Death, death, death
Director Halina Rein has taken writer Kristen Roupenian’s short story of the same name to create a sinister teen horror fable about evil and guilt. So it all starts as a series of mistakes on a difficult weekend. will turn into a series of brutal murders, interconnected by an ambiguous scenario.
The director has enough skill to turn what seems like a classic slasher film into a disturbing look at violence. And this is in a seemingly everyday setting. Gradually, the heroes will have to decide who the killer who threatens them really is. Only to be even more horrified by its triviality.
Fabric: Death Clothes
What if a common haunted totem was something more unique than a piece of jewelry or even a house? That’s the vision of director Peter Strickland, who takes an ordinary tale of horror contained in a seemingly ordinary object to surprising places.
This time, this dress can kill anyone who wears it. But Strickland, who also writes the screenplay, avoids cliché and turns his film into a madcap exploration of desire. The red dress with an insatiable lust for death will actually become an allegory of power, dominance and fear. Especially when it shows what the fabric holds, it’s more than just a twist on the supernatural genre.
Source: Hiper Textual
