I didn’t get the chance to interview Peter Strickland, but after a recent pre-release screening of In Fabric I was able to ask him what influenced the film’s sound design aesthetic. ‘Well,’ he answered, ‘I’d been watching a lot of those Autonomous Sensory Meridian Response videos — I think they call them ASMR — and really wanted to make one of my own.’
A couple of my theatre friends are performing in an upcoming adaptation of The Yellow Wallpaper so I guess I’ve been thinking about that short story a lot.
There’s a quote which I no longer no where I heard it: ‘The only difference between horror and comedy is the lighting.
Sometimes you don’t need a take. Us is pretty good, the final act didn’t quite land for me in the way that it was supposed to, but the strength of the filmmaking and the sustained tension throughout that final sequence was enough to keep me through until the end. I guessed what the twist was right at the beginning, usually it’s not something I’m good at in films, and generally I try not to make a habit of it, so those final moments maybe didn’t hit me like they did some others.
I don’t think I ever actually wrote about the original Happy Death Day, it came out in one of those periods when I hadn’t the energy for anything. Yeah, I actually have two and a half paragraphs about it sitting in the draft folder that constitutes my recycle bin. It was a fun and poppy flick. I compared it to other Groundhog Day x whatever genre movies and found it to be well placed in the pack.
So, here’s what happened: somebody, at some point, played Call of Duty: Nazi Zombies. Or maybe Wolfenstein. Most probably both and decided, “Yeah, I could do that.” Then they went and did it.
Climax just came out in the UK and uh, yeah. It’s a lot. A whole lot. Supposedly based on a true story from the nineties when a rehearsing group of dancers found the punch bowl in their wrap party spiked with something much stronger than the alcohol they were expecting. As you would expect it makes things better for a while. Then worse. Much worse.
The Nun is trash and I love it.
You’ll probably have figured out the secret of The Secret of Marrowbone pretty early on in the film’s running time. I mean, there’s a few going on through the running time the plot basically revolves around a circling series of reveals, who knows what, and who’s hiding it from them is the source of all unfolding drama in this joint.
There’s a lot of grief in Hereditary and none of its characters know where to put it. It opens on the funeral of this family’s matriarchal grandmother. Toni Collette’s Annie struggles through her speech at the alter, trying to reconcile her mother’s abusive personality with the weight of her loss. Like, when the feelings that you feel don’t fit neatly into sadness where do they go?