***Mild Spoilers for The Vegetarian***
A core component of any good horror story is the characters’ apprehension of harm. Most of the time, the dread manifests as physical pain or violent death. Other times there are more abstract, existential ways of experiencing harm—a terrifying realization of past sins, slowly slipping into insanity, or losing one’s soul to a demonic entity. While physical pain will always be a powerful part of any scary story, an existential threat grabs me in a way most other types of horror don’t, probably because I have more to lose from an existential threat.
A realization that shakes a person to his core is, well, horrifying. It’s terrifying. Take the ancient Greek tragedy Oedipus, who realized he had unwittingly killed his father and married his mother. Or The Orphanage, where protagonist Laura realized she was the one responsible for the slow death of her adopted son. Bodily harm is awful and painful, but an earth-shattering existential realization can destroy the very idea of who a person thinks she is.
It can be extremely psychologically tortuous to deal with something like that, to be confronted with our mistakes and the lies we tell ourselves. People go to great lengths to preserve the reality they wish to see, even at the expense of themselves and others.
It’s destructive on a profound level, even more so if I am responsible for the obliteration of my sense of self.
The idea of self-destruction, of an unsettling, dark urge to protect oneself, of refusal, of stubborn persistence, is what fascinated me about The Vegetarian. It’s a novel about confrontation, about purposeful “self-destruction.”
It’s time for the annual Cannes Film Festival! And that means there’s a whole new crop of Cannes horror films!
Cannes is one of the renowned and distinguished film festivals in the world, attracting talent and glitz from all over. The festival has proven itself to be an important predictor of award-winning and groundbreaking films. Among all those storied films, composed of equal parts Oscar-bait and innovative indies, are some of the best horror movies.
As I pointed out in last year’s post, films like It Follows, Green Room, Possession, and Evil Dead were all shown at Cannes. Cannes has always recognized good films, even if they do happen to be horror films.
The Tribeca Film Festival starts tomorrow! The film festival circuit is in full swing and Tribeca is the latest prestigious stop. And I’m going to tell you all about the featured horror films.
Tribeca may not be Cannes, but in its relatively short existence, Tribeca has proven itself a formidable and important film festival. Founded in 2002 by producer Jane Rosenthal, renowned actor Robert De Niro, and real estate mogul Craig Hatkoff, Tribeca has made a name for itself as a festival dedicated to presenting discerning and innovative filmmaking. More than the Cannes Film Festival or the Toronto International Film Festival, Tribeca is about independent films over “prestige studio movies.”
This year, there’s a great mix of various horror subgenres, from serial killer movies to artistic slashers to psychological horror, with loads of films falling between those categories or smashing through them. I have a feeling that some of these feature and short films will go on to generate plenty of buzz. Hopefully, we will see general releases of some of these. I’m particularly excited about Hounds of Love, Psychopaths, and Retouch.
*Beware: Here be mild spoilers for Raw*
During my time blogging about all things horror, I’ve found that most serious horror fans by and large stick to their favorite horror subgenres. They may only dapple in other subgenres, occasionally dipping a toe into art horror or zombie flicks, but not often. I do this. I love moody, tense psychological horror, ghost stories, and taut thrillers with elegant displays of horrific violence. Slashers? Not really my thing. The Saw movies? Ehhh, pass. And body horror? Definitely not my thing.
For some reason, body horror is particularly challenging for me. Thus, I avoid it. This isn’t to say that I think body horror is bad or uncouth or less capable of artistic potential. I accept the importance of body horror as a subgenre that is, at times, most-equipped to explore themes like mortality, physical weakness, aging and disease, over-population, and the disconnect between our mental power and our bodily strength. After all, body horror is the most universal kind of horror, since everyone is stuck in a decaying body and marches through a field of pain and pleasure towards death.
There are times when even I can’t look away from a well-done, brilliant body horror film, when even I have to admit that I really, really liked it.
This is how I felt about Raw, a 2016 French-Belgian cannibalism and coming of age horror film that made waves at Cannes last year and was finally released stateside a few weeks ago.
Spring Break in Texas means a lot of things, like South Padre Island, Mustang Island, and South by South West!
I have many a fond memory of my time as a college student in Austin, Texas, too poor and too uncool to go to the exclusive, VIP SXSW events and having to settle for free events and waiting in line for screenings and concerts. Most of the time, I could only ever get into the musical events. I dreamed of the day I could afford a VIP pass to the SXSW Film Festival, especially because of all the freakin’ amazing SXSW horror movies there. So many great horror films premiered at SXSW! To name a few of those SXSW horror films, take French-extremism horror film Them, Lake Mungo, Insidious, and The Cabin in the Woods, to name a few.
Sadly, I’m still not in a place where I can take off a whole week to go party in Austin. Someday, I’ll get there. But until then, here’s a list of SXSW horror movies that are premiering this year! I’ve included a synopsis and a trailer if available. Enjoy!
Here in Texas, March is a bit of a tumultuous month. The weather is crazy, with hot days and chilly nights, and crazy pollen causing allergies like you wouldn’t believe. And the event scheduled is packed—you’ve got the weeks-long Cook-off and Rodeo, along with St. Patrick’s Day and Spring Break.
So too, the horror release schedule for March 2017 is a roller-coaster of horror movies. There’s blood and ghosts and humor and social commentary and fascinating stories. We’ve got some big, splashy gore fests in The Belko Experiment and Life, along with the artsy cannibal flick Raw. Later in the month, we see some pensive and creepy offerings with Dig Two Graves and The Blackcoat’s Daughter. And don’t overlook indie films The Devil’s Candy and Here Alone, both of which might prove to be pleasant, bloody surprises.
Let’s see where March takes us!
The Academy Awards are this weekend, and I’m excited! I’m a huge film buff and enjoy watching the Academy Awards every year. I strive to see all the Best pictures, even if I don’t agree with the choices. Despite my love and respect for the Academy Awards, I am disappointed that many excellent films are completely overlooked by the Academy. Especially horror films.
I shouldn’t be surprised. The Academy has a lot of issues. The Academy is a notoriously conservative body, reluctant to reward risks or give credit to inventive and brave filmmaking. Lately it seems like the more popular a film is, the worst its chances are for receiving any kind of recognition from the Academy, though there are notable exceptions. Why does the Academy pick certain films over others? I have no idea.
And while horror is criminally underrated and underappreciated genre, turning out well-made and culturally resonate films, there have been several films that the Academy has lauded for achievements in directing, acting, cinematography, and other facets of filmmaking.