The debut film by Ari Asta, which tells the story of a family that has become a victim of a curse. The director turns a typical story about rock that suddenly burst into the lives of relatives into an almost Bergman drama about latent hatred and the destructive power of grief. An unbearably drawn narrative, designed to make the viewer a silent witness to an incessant series of deaths, and a scenario saturated with fatalism and allegedly spied on by Greek tragedians merge together to collapse into distilled cinematic psychosis in the finale. Astaire’s next film – “Solstice” – also deserves a special place in the history of the genre, but it was in “Reincarnation” that the author was able to turn the concept of the American family inside out and show the true loneliness of modern society.
Triumphant return of the king of plot twists M. Night Shyamalan (“The Sixth Sense”, “Invincible”), who for several years made hopelessly bad films. The cheap “Visit”, within the framework of which the author, apparently, had more restrictions, only proved that the big budgets are not good for the filmmaker. In the center of the plot is a brother and sister who came to visit their grandparents. The relatives have not seen each other for a long time, so you have to get used to the oddities of old people who like to wander around the house at night or bang their heads against the wall. Mocumentari form and family problems, crazy plot twists and primordial genre suspense – it seems that all plot details and author’s techniques have developed in the “Visit” too well, masterfully. Although this is probably how Shyamalan’s film should look when the author is in his best shape.
At the moment, the last feature film by Darren Aronofsky, whose provocativeness divided the audience into two militant camps. Some consider “mom!” the famous ringing vulgarity, a superficial film adaptation of the Bible, which tries not to tell a story, but as painfully as possible to hook an unchecked audience. Others, on the contrary, see the author’s magnum opus here and view the picture not so much in a biblical vein as in the vein of postmodern frenzy, whose desire for an abundance of interpretations turns the story into a frightening absurdity. Be that as it may, “Mom!” again actualized questions about the artist and art, the image of the abuser in cinema and his place in culture – in other words, it allowed to look at old problems from an angle that only Darren Aronofsky could find.
New original sloburner (slow, viscous horror, often only revealed in the finale) from Australian director Natalie Erica James. The topic of family and the acceptance of death by 2020, perhaps, has already lost its former relevance due to the increasing attention of genre authors to it, but in Relic, oddly enough, the problematic manages to appear in a new form. A mother and daughter come to a country house to see their grandmother, who disappeared a few days ago. When she is still found, her illness (apparently, dementia) makes itself felt and turns their everyday life into a nightmare. Behind the disease, however, something more terrible is hiding, and the family will have to face a real monster. It is very rare for English-language cinema to turn to the style of Japanese horror movies with an explosive ending – in its own way creepy and, perhaps, one of the saddest over the past few years.
Retro horror by David Robert Mitchell about a mysterious sexually transmitted disease. Taking old horror films as a basis, the director has constructed a timeless cinema that incorporates the genre aesthetics of different eras. This is how a universal form of horror turned out, which, despite the old-school plot, as if adopted from the slashers of the 80s, scares both at the level of content (teenage fears, puberty and other complexes), and in form – an unprecedented gloomy madness that keeps at the screens of even the most restless spectator. Retro is dead, long live retro!