October has arrived, and with it the inevitable and fun habit of rewatching the best horror movies in cinema. In particular, those that marked an era gave birth to a new way of understanding fear and even started their own universes. In addition, this is a journey through the history of the cinematic world, in which creepy stories have their place and meaning.

However, among the usual selection is a group of horror films that are usually essential when diving into the genre. Especially, during the last decade, when cinematic narratives dedicated to the terrifying have reached a new level. Either because of its importance, depth or a new point of view. This is a modern classic that is part of an intriguing vision of fear in all its manifestations.

At the same time, the concept evolved as cinema began to use horror to convey more complex ideas. We leave you with the top five horror movies on any fan’s list. Much more when it comes to a detailed analysis of the possibilities of its language and symbolism.

Witchtypical horror movie

With its content and gloomy air, Witch, from director Robert Eggers, is arguably one of the best horror films of the last decade. This is not only the highlight of the genre. Plus, it’s an update to the cinematic language of fear.

The greatest achievement of the film is to abandon the clichés about the concepts of witches, magic and sorcery in order to create something completely different. A true exponent of folk terror, he eschews the familiar territory of genre cinema and uses pagan traditions to prop himself up as a discourse.. The result is a believable atmosphere in which nature prevails over the human need to understand the unknown.

There is nothing simple about a proposal based on classical notions of good and evil, horror and bliss. Especially by turning the supernatural into a subjective place. For most of the movie, it’s almost impossible to tell what forces are at work in the story. Is it mass hysteria or something more terrible? With stage management that surprises in its subtlety, Eggers creates a sentence that feeds on all sorts of symbols. Then fear becomes a trait, an interpretation of reality. An elaborate perception of what surrounds us and its impact on pain and loss.

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let me outmasterpiece of psychological horror cinema

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Jordan Peele’s first horror film has a simple plot. Rather, it is so, and perhaps this is his greatest triumph. In the first part, the film seems to pay homage to some kind of classic cinema, the main element of which is paranoia and disorientation.

However, from the second stage, in which a vision of horror is shown on stage, based on all sorts of analyzes of human nature. The inner darkness manifests as an enemy. But above all, a persistent idea of ​​violence, hidden under the usual, apparently, customs. Evil lurks in the background of every flawless scene, and Peel uses the setting to create a lingering atmosphere of imminent disaster.

With some memories of history LotteryShirley Jackson, in her cynical vision of horror amid seeming normality, let me out triumphant in its atmosphere. In addition, he manages to balance outwardly dissimilar elements – terror, humor, social criticism – in reflections on the eerie.

Nothing let me out this is what it seems. Beneath the surface of smiling faces, in the midst of artificial normality, lies the sinister. In addition, the director draws on symbols to create a connection to the idea of ​​collective darkness. In the end, this sly, sly script redefines horror and keeps it alive with cleverly used political commentary.

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Trilogy Blair, who

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What began as a cinematic experiment in 1999 became a phenomenon that changed horror cinema forever. The audacity of directors Eduardo Sanchez and Daniel Mirik turned a simple and intricate plot into a success. In addition, he took the first step towards transforming modern terror into a thoughtful and well thought out look at collective horrors.

Under the guise of mockumentary – which will be the first stone of the so-called found footageThe Blair Witch Projecthe turned fear into an organic element. Much more, looking for primitive characters that turn horror movies into discreet dialogue with weirder and darker ideas.

A year later, having become one of the most profitable releases in the history of cinema, the film received a sequel. Directed by Joe Berlinger, he used metalanguage to tell from different places about the influence of the original horror film. But the result lacked the freshness and originality of its predecessor, and was a disappointment for the nascent franchise.

In fact, the franchise had to wait sixteen years for its trilogy to close. Blair Witch 3 created by Adam Wingard, is a mixture reboot and a sequel that highlights the best elements of the original and resizes them. This time, the persistent recording device as a witness to the horror is duplicated and meets the level of a strange technological nightmare. But, again, having lost the ability of the first part to inspire horror, the film was considered correct, although not particularly good. Overall, the trilogy shows a curious evolution of horror cinema and sets the stage for possibly new stories to be added in the future.

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Warren’s File Universe

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James Wan turned the much-discussed story of demonologists Lorraine and Ed Warren into the first expanded universe of modern horror. With three major horror films in tow and a fourth in production, the vision for a realistic horror brand has been surprisingly effective. Much more so when Wang explored the awe-inspiring state of deep and emotional connection between the characters. A pair of Warrens face a creepy primal evil with weapons of faith and love.

The premise could have been simple and even sweetened if not for Wang’s brilliant handling of tone and rhythm.. The first two parts of the trilogy so far reconstruct the world of the horror genre with a more unsettling and claustrophobic feel. The third, led by Michael Chavez, is less efficient and certainly far less elegant. But it retains its quality as an exploration of collective fear and its consequences.

For Wang, the concept of terror is based on the state of the supernatural as an implacable enemy. Which allowed his stories to grow along with many others. spin off with common wires. A version of how scary it is both as a new invention and as a successful experiment, backed up by an elegant and sober scenario.

From a horror movie comes genius Evil

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Director James Wan’s strangest work has been at the center of an awkward discussion. On the one hand, a good part of horror fans consider it a work of art. On the other hand, a messy and chaotic eccentricity in which Wang unsuccessfully tries to create an atmosphere with the help of the grotesque. in the middle of both the film is a direct homage to the genregiallo with a fair amount of hints of Hitchcock suspense.

The combination is not as effective as one might expect, but the argument is clever enough to use its duality in a clever way. Which allows Wang to build a unique journey through history with countless unexpected plot twists. Not all of them are as bright as expected. But in the end, Wang does what he does best: crafting a clever script where terror is the main character.

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