IN Don’t talk to strangersfear is not a monster or a nightmarish figure. It is a seemingly good couple, as well as good parents, who gradually become a real threat. What is even more frightening is that it is a test of the mental and physical resources of the couple who are trying to resist them and save their lives. At the same time, in a dark study of evil and violence You don’t need a weapon to become a deadly threat. A classic horror movie image.
Of course, the idea behind James Watkins’ film is not new. Already in the Danish version, directed by Christian Tafdrup, the film’s greatest strength was the possibility of horrific evil existing behind the scenes of everyday life. But the truth is that cinema throughout history has reflected the idea of this kind of violence and cruelty that has no supernatural origin. From Alfred Hitchcock’s Psycho to Jonathan Demme’s The Silence of the Lambs, much of modern cinema has examined horror from less direct and graphic angles. It has more to do with what a person hides inside.
To prove it, we leave you with five psychological horror films that will make you wonder if you liked them. Don’t talk to strangers. From the possibility of children capable of the most terrible crimes to a mother who must fight fear, trauma, and perhaps herself. A whole collection for those who are convinced that the worst darkness is not in the supernatural, but in human actions. The great and complex message that this group of recordings leaves behind.
Innocent
Norwegian director Eskil Vogt directed image horror that explored scary kids and took them to a whole new level. And it does so, moreover, by pondering the possibility that humans have an instinct, even a precocious one, for evil, violence, and destruction. All through Ida (Rakel Lenora Flottum), a nine-year-old girl whose family moves to a random neighborhood in Oslo. during the normal summer holidays.
But Ida soon discovers that she is no ordinary girl, and neither are her new playmates. Together, they possess not only extraordinary powers. They also have unprecedented freedom that will cause them to commit all sorts of sinister acts, as it becomes apparent that their new powers show that, despite their age, Children can be cruel. As much as maim or kill without feeling guilty.
The education of children’s evil is not an easy subject, and Eskil Vogt does it with a cold gaze that is uncomfortable and frightening. His horrific ending makes one thing clear. Horror has no boundaries in human beings. To feel it or to provoke it. An element that is skillfully shown in this psychological horror film. Something you share Don’t talk to strangers.
Darkness and evil
Bryan Bertino delves into horror through the idea of death. It all revolves around the agony of a father who forces his two children, from whom he has been separated, to go to the family farm. Not only to wait for his death, but also to explore the idea of loss from a human and intimate perspective. But all of the above is just the surface of a horror story that uses grief, longing and the confusion of absence to tell of its darkest moments.
Step by step, what begins as a painful farewell takes on a more sinister tone when the family of the recently deceased discovers what he was hiding. Moreover, the fear of death can manifest itself in increasingly twisted, cruel and ultimately brutal ways. All in the middle of a story that finds its best moments in showing the loneliness of absence, like deserted places, which reflect the pain of a monstrous psychological turn.
The film is smart enough to keep its secrets until the very last segment. This allows for the real horror to be shown, which the main characters’ family farm is considered one of the most shocking moments of the film. Perfect for those who like the idea of fear from a much more subtle point of view. A scenario that unites you Don’t speak for strangers.
Menu
Alex Garland’s Raid (Civil war, Ex-Machine) horror genre, could not be more interesting and well presented. Menu“It’s much more than just a terrifying film that uses psychological fear to reflect on misogyny and violence. That is indeed the case, and from a sensible and better planned point of view.
It is also a vision of how our society and everything around it can lead to a view of primal evil. Harper (Jessie Buckley) is trying to survive a family tragedy using the few tools at her disposal. So he goes to the English countryside, trying to to heal your emotional wounds and perhaps find peace.
But he is soon to undergo a terrifying experience in which all the men around him become potential enemies. The scariest thing is that each of the characters he encounters (all played by Rory Kinnear) shows him that human evil is far worse than he imagines. With an unsettling vision of horrors that have barely been announced, Menu – a natural selection for lovers of psychological horror.
Run, bunny, run
This film by Dinah Reed carefully examines the fear of loss and death from a unique perspective. Namely, the possibility that a girl will be able to remember a past life. But Run Rabbit Run is more than just a dilemma about the existence and transcendence of the human soul. It examines how our minds can hide his worst horrors from himself.
Especially when the events you’re trying to hide involve unimaginable tragedy. That’s the reality Sarah (Sarah Snook) must confront when her young daughter claims to be able to remember a past life. But more importantly, how brutally he died. All of the above in a nightmare scenario. which becomes increasingly dark and violent as the story progresses.
Judging by its horrific ending, one thing is clear. Man’s evil manifests itself in many ways. All of them are connected to the need for horror, the search for identity, and even violence disguised as love. A changing and terrifying territory for horror films, this film explores with caution.
The Babadook
This new horror classic has everything to add to that list. But it is also the idea of fear itself, grotesque in its implications. Can a mother hate her son? It is a disturbing question that formulates the film and reacts through a nightmare monster that may or may not be real.
Amelia (Essie Davis) is a depressed widow who tries to take care of her little boy Daniel (Noah Wiseman) as best she can. But as his mental state worsens and he becomes a victim of his own suffering, he must also face a terrifying possibility. a monster that lurks and seems to feed on your worst feelings and terrors.
Halfway between supernatural and psychological horror, The Babadook It’s awkward no matter how you look at it. But it’s much more than that. a dark reflection on the creatures that the human mind can create.
Source: Hiper Textual
