Bill Weber, Henri-Georges Clouzot was somehow a realist and expressionist in roughly disconcertingly equal measure. The new Suspiria is, especially in visual terms, anything but a simulacrum, as its palette is more reminiscent of Rainer Werner Fassbinder and Walerian Borowczyk’s films than Argento’s neon-tinged original. But why, at that moment, I can’t say. The projector, more than simply outmoded, is regarded here as practically archaic, and as with Berberian Sound Studio and its reel-to-reel fetishism, Sinister makes quite a show of the mechanics of the machine, soaking in the localized details and milking them for their weighty physicality. 29 horror films to kick off the spooky season. I don’t get the chance to interview craftspeople very often, but when I do, I love asking them if the Cameraperson thesis rings true for their own work. If watching movies wasn’t pushing you into making them, how were they acting on you and influencing you? Comment. Because Alex is myself stripped away a ton. She will have them film each other talking about their fears about their thesis project and then edit both themselves and the other person in the conversation. Dillard, Quite a bit of the fun of The Hole in the Ground resides in guessing how Lee Cronin’s shopworn signifiers fit together, as he offers a smorgasbord of portentous elements that include a crone by the roadside, the aforementioned hole and the woods, a pointed reference to Sarah’s (Seána Kerslake) medication, and Chris’s (James Quinn Markey) newfound sense of inhuman formality. “Can I create fictional situations in which I replicate that or push the thing that is the moment of failure up against the thing that is the moment of creation?” That was an active question and dynamic in making the film. For every eviscerated remake or toothless throwback, there’s a startlingly fresh take on the genre’s most time-honored tropes; for every milquetoast PG-13 compromise, there’s a ferocious take-no-prisoners attempt to push the envelope on what we can honestly say about ourselves. She travels to her old family home and finds him unconscious in the house’s flooded crawl space, with large alligators swimming in the water. The tedium of murder seems to be conveyed in unusually specific terms, such as the logistics of lifting a chest containing a body up into the back of a car, while other scenes make sense only in symbolic fantasy terms, such as the classic moment where Michel slowly unexpectedly rises out of the cold bathtub. I don’t want to assume that the characters speak for you, but did thinking through these questions give you any clarity on the questions?

The film talks about how Fox’s story demonstrates the power of love as a tool of resistance.

Directed by Larry Cohen • 1974 • United States The genius of Her is that it doesn’t ask you to believe in the truth of its speculative science fiction so much as it does the truth of its romance, which is to say that Samantha (Scarlett Johansson) means more as metaphor—for a hard-won connection, long-distance or otherwise remote—than as a prediction of future tech. I’m betting that Greenhill didn’t lend you the mascot? I think it goes back to this idea of the sort of cinematic challenge of trying to allow things to feel as they do in the real world. I remember an older friend of mine told me in my first year at school, “I think your biggest problem is that you are over college and you are already a freshman.” But at the same time, I was still 19 and immature. The tension between history, science, and religion becomes increasingly palpable throughout Cronos, forging ideas concerning mortality and erosion that will evolve in his later films like the Hellboy series and Pan’s Labyrinth. Criterion’s series includes another Borzage film from 1937, Mannequin, which is notable for Crawford’s proletarian heroine’s opening walk up the stairs of her ugly tenement, reversing the logic of Seventh Heaven’s idyll: Sometimes there are staircases to hell as well as heaven. The status quo is damning enough. Throughout, the film it remains firmly focused on its thesis of Frankenstein as a lens for examining modern society. Privacy Policy / Cookie Policy. A bug-eyed stare into the cosmic void, God Told Me To is speculative sci-fi at its grubbiest and most unsettling. There’s no sense of benevolent normalcy in Mom and Dad, or of a control state that’s to be eventually restored or at least fought for. The great meaning comes out of the conversation between the two. It’s really tricky because I think there’s a story that the character is so close to me, but it’s really not. According to Larry Fessenden’s Depraved, he’s a guy with war-addled, once-noble intentions set adrift by male ego and shady benefactors. That it more or less forgoes the spectacle of an anticipated resolution is a necessary consequence of its methods; in other words, for Filho, process rather than payoff is the point. Then, I asked each of them to cut the interview that they had filmed of the other person, and then to cut the interview of themselves. And here’s the list of films, all of which (save one) will be available on, Let’s Scare Jessica to Death, John D. Hancock, 1971, Season of the Witch, George A. Romero, 1972, The Texas Chain Saw Massacre, Tobe Hooper, 1974, The Tenant, Roman Polanski, 1976 (Available November 1), The Witch Who Came from the Sea, Matt Cimber, 1976, Invasion of the Body Snatchers, Philip Kaufman, 1978, Criterion Channel ’70s Horror Trailer: 29 Classics, Rarities, and Oddities for Halloween Season, The Criterion Channel is Offering a Lineup of Great ’70s Horror Movies This October, Films About and By Black Voices Streaming for Free on The Criterion Channel, Pop Culture Imports: 5 Essential Foreign Movies to Watch on the Criterion Channel, The Criterion Channel’s Launch Line-Up Revealed, Sign Up Now for a 30-Day Trial and Reduced Price. Years before he became an Academy Award winner, Guillermo Del Toro began his filmmaking career with this unorthodox vampire tale. But so many people have talked about not having another perspective. The Crazies ironically understands fascism as being inherent in both the preservation and revolution of society. One doesn’t have to go mining for subtext: Crawford’s murderer is the same somewhat self-martyred control freak she played in a number of more famous roles, and the horror-movie tropes bring her out further, seemingly completing her (she always seemed to be in a horror movie anyway and it tells you something about a film when an ax-murderer played by Crawford is its most sympathetic character).

But what matters here is that the love is real. Its impenetrable storylines take shape like most of its dialogue, bearing the enigmatic sparseness of poetic stanzas or ancient spells. It isn’t Al Jolson blackface either: Crawford retains her bright red lipstick mouth and even wears rhinestones in her eyebrows. The titles shown are available throughout the month of October. Criterion Channel is taking the month of October to delve into this influential decade’s fright-filled contributions with their newest collection—‘70s Horror.Whether you’re a newbie to Romero or a devotee of De Palma, this trip through time promises grindhouse meets art house on an epic scale. I think that’s why she’s crushing college. One of horror’s masters, George A. Romero, shows his sense of keen social commentary with “The Crazies”. But Us also moves past such racial themes. Callahan, It’s no secret that Crawford and Bette Davis envied and openly despised one another; there’s abundant anecdotal lore that testifies to the myriad ways these divas one-upped and punked each other during production.

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