Tag: horror

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Review

Nope (2022)

Out of all the films to be released this year, Nope was one that was filled with anticipation. Jordan Peele has established himself as a master of modern horror with his previous films Get Out and Us. Nope sees Peele stick with the horror genre but deals with a new subgenre – aliens. The film follows the Haywood siblings, OJ (Daniel Kaluuya) and Emerald (Keke Palmer) who are running the family ranch following the mysterious death of their father, Otis (Keith David). When the horses begin to act weird and disappear, OJ realises that there may be something extraterrestrial occurring. Along with tech-wiz, Angel (Brandon Perea) and cinematographer, Antlers Holst (Michael Wincott), the Haywoods must find a way to track down and film footage of the UFO to get money.

Written and directed by Jordan Peele, Nope is another excellent addition to one of the most exciting horror filmographies of modern times. The writing is brilliant as always as Peele includes little details that help weave various plots together to show a connection throughout the film. Nope seems to be an exploration of the spectacle and how humans are obsessed with documenting and recording everything that happens. For example, Steven Yeun plays Ricky “Jupe” Park, a small theme park owner who was a child star in his youth. During his tenure as a child actor, we see an incident in which a chimp loses control on set after a balloon pops and the affect that this has on Jupe is evident in his adulthood. However, he still cannot help but look back on his traumatic childhood with fondness. This inner conflict is what drives Nope and ironically, the audience too becomes invested in the spectacle.

Collaborating with Peele again is Daniel Kaluuya who plays as Otis Jr. “OJ” Haywood. OJ is quiet and reserved, desperate to save his father’s business from closure. However, OJ’s understanding of dealing with and taming horses all his life has unexpectedly equipped him with the skills needed to handle the UFO. OJ may not have the same level of depth or characterisation as Chris in Get Out, but the chemistry he has with Em is fantastic. There are some great moments of humour from Kaluuya as well which he manages to convey even through OJ’S quietness.

Keke Palmer stars as OJ’s younger sister, Emerald “Em” Haywood. She is loud and vibrant which is extremely noticeable when she is onscreen with OJ. The first scene we see Em in when she gives a safety talk onset is fantastic and hilarious as she oversells Haywood’s services while also trying to get hired as an actress herself. While OJ seems to be the voice of reason with a level-headed approach, Em is more hot-headed and acts spontaneously without thinking ahead of the consequences. The climactic scene in which Palmer attempts to capture footage of the UFO is a testament to her ability to switch between comedy and drama instantly.

In support, Steven Yeun as Ricky “Jupe” Park in a role that may be small but is deeply complex. Jupe’s experiences as a child actor in fictional sitcom Gordy’s Home are interwoven into the film, displaying this thread of trauma that has followed him into adulthood. Even as an adult, Jupe collects memorabilia of Gordy’s Home and charges people thousands of dollars to look at his collection. He speaks of the past fondly, but we see a different tale of events, showing the contrast between what we are seeing and what we are being told. In this respect, Jupe’s retelling of his past could be a way of him trying to work through what happened as well as the obsession that people have with spectacles and the unexpected. Jupe is one of the best characters that Peele has crafted because of how nuanced every line and action in. The scene following the flashback in which we see Jupe deep in thought before quickly reverting back to a smile and cheery persona.

As with each Peele film, the music by Michael Abels remains a highlight. Abels draws on classic Western sounds and whimsical tracks to create a score that feels as though the film takes place in another universe. The track “Jupiter’s Claim” feels reminiscent of music that would be played in a real theme park and transports the audience into a world far from the glamour of Hollywood. On the other hand, tracks like “It’s In The Cloud” draws on traditional horror tropes such as fast strings and crescendo to increase the tension in the scene. In many respects, Abel’s music has become an integral component of Peele’s films thanks to his ability to adapt to the different subgenres beautifully.

Nope boasts a much bigger budget than Get Out and Us and it is easy to see why. Given the film’s alien-themed plot, it was clear that this film was going to utilise cinematography on a much larger scale. For a big blockbuster, it makes sense that Peele entrusted frequent Nolan collaborator Hoyte van Hoytema as cinematographer. Having worked on huge films such as Interstellar and Dunkirk, van Hoytema is the perfect choice as his work is larger than life, making use of vast space without it looking empty or boring. The scenes in which the characters lay a trap for the UFO makes use of the natural land while combining it with technology so they can capture the footage. On the other hand, van Hoytema also incorporates deeply claustrophobic work through the shots inside the UFO in which we see people trapped in a vertical line upon one another, awaiting their fate. The intriguing design and set up of the shot contrasts greatly with the open space that we had become acquainted with throughout the film. This is then followed by a scene that feels reminiscent of a classic horror film in which the UFO disposes of all the remains and belongings on top of the Haywood’s house. Van Hoytema’s previous work has predominantly consisted of action films but in Nope, he executes the horror elements brilliantly.

Like Get Out and Us before it, Nope sees Peele subverting horror tropes with a beautifully woven and detailed script and excellent performances all around. It feels much grander and larger in terms of scale and it’s great to see Peele expanding in terms of his storytelling and visuals. Nope is not only a story about alien invasion, but a look into mankind’s obsession with the spectacle and how we deal with trauma.

What did you think of Nope? Let me know in the comments below!

Nope is out in UK cinemas now!

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All My Friends Hate Me (2021)

All My Friends Hate Me is a British comedy horror films that has proven to be one of the underrated gems of year. The film follows Pete (Tom Stourton), a charity worker, who is planning to spend his 31st birthday with friends from university who he hasn’t seen in years. The celebrations take place at the estate owned by friend George (Joshua McGuire) and it becomes apparent that while Pete may have matured since his partying days, the same cannot be said about his friends who seem to be stuck in the past. When newcomer, Harry (Dustin Demri-Burns), joins the group on their escapades, Pete grows more and more paranoid that he is being pushed out the group.

Directed by Andrew Gaynord and with the script written by Tom Palmer and Tom Stourton, All My Friends Hate Me is a brilliant take on British horror. It subverts everything you would expect from a British horror film while exploring issues revolving around class and privilege. Palmer and Stourton’s script is a perfect blend of horror and comedy demonstrating plenty of examples of excellent comedic timing throughout the duration of the film. Despite only running for 93 minutes, the film is full of character development for its cast thanks to the peppering seeds of doubt that are planted all the way through the film, leading to the extremely tense climactic scene. Gaynord’s direction takes advantage of the limited locations by making the large estate feel incredibly small and claustrophobic as though Pete has no means of escape.

Tom Stourton leads the cast as protagonist Pete, a charity worker who believes that he has grown up and matured since his university days, while the others seem to be trapped in the mentality. What is great about Stourton’s character and the performance is that he is not as different to the others as he may think. He comments on their backgrounds and their privilege plenty, despite coming from a similar background himself, while also forgetting about the various displays of behaviour that he had committed at university in a bid to disconnect himself from that privilege and lead a life where he can help those less fortunate. However, simply forgetting or refusing to acknowledge privilege and wrongdoings of the past is not good enough and in this film, we see the paranoia and delusions unfold as Pete is forced to look in the mirror and reflect on what kind of person he is and who he has been. Pete is such a fantastic character to follow because he ventures in this grey area where there is no blatant right or wrong.

There are lots of brilliant supporting turns, but Graham Dickson shines as the super-posh, Archie, a selfdescribed “toff” who is struggling to come up with a decent business plan. What makes Archie a gem of a character is that he is fully aware of his privelege and takes ownership of his lifestyle. He is both likeable and unlikeable at the same time and it’s a testament to Dickson’s ability to exaggerate the character without it feeling like a caricature. Totally opposite to Archie is Pete’s girlfriend, Sonia who is played by Charly Clive in what can be deemed as the most grounded performance. Sonia is from the North (presumably meant to read as working class) which immediately puts her in a separate category from everybody else with their affluent upbringing. Clive isn’t in the film a lot, but when she is onscreen, it is as though her character is the one that can ground the tension and bring understanding. What is great about Sonia is that she isn’t afraid to speak her mind and doesn’t let herself be put down by the others, especially Archie. The variety of characters is what makes All My Friends Hate Me such an engaging watch as we get to see these eclectic personalities clash.

A personal highlight was the music by Will Lowes and Joe Robbins which elevates the tension and draws on the horror of the film. The music style feels familiar to soundtracks of other modern horrors, but the way it bounces off the comedy in the film works excellently. There are drawn out violin pieces to highlight the isolation that Pete is feeling and the rising paranoia that is building throughout the film.

All My Friends Hate Me does a brilliant job of subverting various tropes associated with British horror. Palmer and Stourton’s script takes the audience on a journey filled with so many twists and turns that we begin to feel Pete’s paranoia and delusion, questioning every action and reaction that takes place. Despite the short running time, All My Friends Hate Me has a lot to discuss in the topics of class and privilege, and manages to do this while ensuring that the characters are fleshed out enough so we are gripped from beginning to end.

What did you think of All My Friends Hate Me? Let me know in the comments below!

All My Friends Hate Me is available to watch in cinemas now!

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Review

Men (2022)

Men is one of most anticipated horror films released this year as it sees Alex Garland back on the big screen as his previous film, Annihilation was a Netflix film. The film follows Harper, a woman who is grieving the recent loss of her husband, James (Paapa Essiedu). She ventures to the small village of Cotson and stays in a large house in order to take some time to herself and heal following her ordeal. As she spends more time in the village and encounters the (predominantly male) locals (all played by Rory Kinnear), everything is not as it seems. The film is a folk horror and feels as though it would fit nicely alongside a double bill of Ben Wheatley’s Kill List.

The film is both written and directed by Alex Garland, and it’s safe to say that this is one of the most original films of the year. While Men may not be flawless throughout, it does pose some intriguing ideas and concepts that are rarely discussed in film, especially the horror genre. The main themes are gender politics and Garland’s use of one actor playing the male residents in the village is a brilliant move as it shows the danger of men’s treatment of women and how connected it is, even though it shows itself in different ways. However, there is no denying that this story may have been better served if it was told from a female perspective, whether that is through a female director or a co-writer. This is because it feels as though there is something missing from the script, especially at the end of the film, and a female perspective may have rounded things off nicely. Garland’s direction is as striking and visceral as always, with a particular focus on anatomy and autonomy. The male body is shown explicitly throughout, while the female body is not, subverting the usual trope that we are accustomed to in film.

Leading the film is Jessie Buckley as Harper, who shows why she is one of the most in-demand actresses working today. What makes Buckley such a fantastic actress is how experimental she is with the roles that she takes. Whether she is starring in something more mainstream such as The Lost Daughter (which earned her an Oscar nomination earlier this year), or something more experimental like Charlie Kaufman’s I’m Thinking of Ending Things, Buckley has a strong presence and is immediately gripping, captivating audiences every time she is onscreen. This is no different in Men as she drives the film onward and showcases plenty of star quality despite the “smallness” of the film’s cast and setting. While the film may suffer in terms of its story and themes, Buckley’s performance is nothing short of phenomenal as she breathes life into the character, providing plenty of depth into Harper and bringing lots of strength into the role.

The supporting cast is very small and is led by Rory Kinnear who takes up most of the space as landlord, Geoffrey and the other Men in the village. Kinnear’s role is to represent men and the various privileges that men have through a variety of characters. Leading these characters is landlord, Geoffrey, who owns the house that Harper is staying in. From the moment he appears, Geoffrey’s privilege is loud and clear as he exudes the tropes associated with the middle and upper classes, while also remaining ignorant of the dangers that befall women on a regular basis. What makes Kinnear so effective in the various roles is how committed he is to each character.

As expected from an Alex Garland film, the cinematography is especially striking. Garland collaborates yet again with Rob Hardy, who makes use of some wonderful shots. The scene where Harper is in the tunnel is simple, yet the way Hardy shoots this and makes use of the contrast between light and shadow is brilliant. Hardy manages to capture the extraordinary in everyday life, while making use of the limited locations. He knows when to make the village seem vast and large, and when to make it feel incredibly claustrophobic.

A key part of any folk horror film is the music and Men is no exception. The score composed by Ben Salisbury and Geoff Barrow not only provides many trademarks associated with folk horror scores, but it actively serves the plot. The scene in which Harper ventures into a tunnel and begins to sing serves as the basis for a choral track that is played throughout the rest of the film to exemplify her inner torment and struggles, especially as her life is in danger. The way the score is edited and mixed in with the film is a masterclass in how to make the score relevant to the plot, while also contributing to the film as a sensory experience.

Men is another example of why Alex Garland is one of the most original filmmakers working in horror. While this film may feel muddled in terms of its discussions and themes, it boasts strong direction and excellent performances, especially from Buckley who shows that she is one of the best actresses working today. It’s a film that deserves more than one viewing because of how detailed every moment is, which could be why it has been receiving so many mixed reviews.

What did you think of Men? Let me know in the comments below!

Men is available to watch in UK cinemas now!

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Review

Perfect Blue (1997)

There are plenty of iconic anime films that have been released throughout the years. From the fantasy worlds created by visionary Hayao Miyazaki to Mamoru Hosoda’s brilliant coming-of-age stories, anime has always been an excellent medium within film for storytelling. One such pioneer of the medium was the late, great Satoshi Kon whose directorial debut, Perfect Blue was released 25 years ago this year. The film showed that anime is not just for children and made way for anime content that was catered for adults thanks to its gruesome violence, explicit nudity and mature themes. Perfect Blue follows Mima, a young woman wanting to make the transition from pop idol to mature actress. As she begins to take on more adult roles and gives her public image a makeover, Mima’s life starts to unravel as she deals with a stalker who is hellbent on ensuring that she maintains an innocent image.

The film was directed by Satoshi Kon and written by Sadayuki Murai who based the screenplay on Perfect Blue: Complete Metamorphosis by Yoshikazu Takeuchi. Satoshi Kon directed four films before his death in 2010 with Perfect Blue marking his debut and what a debut it is. The film is a complex look into the psyche of protagonist Mima as she begins to lose grip on reality as an imposter threatens to steal her identity. Kon’s unflinching approach has made Perfect Blue a staple, not only in animation, but in the psychological thriller genre as well. It is a visceral look into societal expectations placed on women and how that pressure to conform can have tragic consequences. Murai’s script is fast-paced while also providing plenty of scope for various factors to mesh and contribute to Mima’s eventual mental health deterioration. Kon’s gritty vision helps to list Murai’s words off the page, resulting in a brilliant film that feels both of its time and deeply relevant simultaneously.

Perfect Blue can be defined as a character study into its protagonist, Mima. Junko Iwao voices Mima and does a brilliant job of conveying the trauma and horror that the character has to endure throughout the film. Mima starts the film with a higher pitched tone to convey her innocent image that coincides with her pop idol career, but as the film goes on, her tone and attitude becomes more authentic and real as her life spirals downwards. Iwao perfectly captures the wide spectrum of emotions that Mima feels throughout. Mima is such an intriguing character and Iwao contributes to this. The idea of the pop idol and image is one that is especially monitored in Japan moreso than the majority of countries and seeing the extent of obsession for the fame and attention that Mima has makes for truly frightening viewing.

As with any film, the supporting characters are equally important. In particular, Rica Matsumoto’s contribution as Mima’s agent, Rumi, is brilliant. Rumi is a former pop idol herself and her obsession with Mima and her career shows how she longs for the life that Mima has, but isn’t willing to move on with her own life. Matsumoto’s performance is tinged with hints of longing and sadness throughout as Rumi clearly disapproves of the direction that Mima’s life is going in.

One of the best elements in the film is the music composed by Masahiro Ikumi which elevates the emotions felt by Mima throughout. As Mima begins to become disconnected and suffer from dissociative identity disorder just as her character does on the TV show she is in, the music begins to reflect this as the tracks become more chaotic. The track “Virtua Mima (Voice)” is especially haunting and its repetition drums in the confusion and terror that Mima is feeling. It’s a soundtrack that is essential to the overall film and helps to make the film as iconic as it is.

What makes Perfect Blue so gripping from start to finish is the editing by Harutoshi Ogata. Ogata does a fantastic job with the editing as he frames the film like a live-action psychological thriller featuring quick cuts to highlight the protagonist’s confusion and disconnection from reality. There are also longer scenes that make for uncomfortable viewing such as the scenes in which Mima is filming a scene for a television show in which she is victim of a sexual assault as well as the iconic chase scene that comes later on. The latter example has become synonymous with anime horror and it’s easy to see why. Ogata’s editing of the chase scene is one of the most eerie and frightening scenes without containing a huge amount of violence when compared with the rest of the film.

Perfect Blue has garnered a reputation over the years due to its explicit content and exploration into mature themes, while still remaining a gripping watch that boasts brilliant storytelling. Kon may have only made four films, but each one shows his immense talent as a filmmaker and Perfect Blue is a fearless glimpse into fame and the dangers of being a familiar face among a public that can easily hide. Despite the dated technology used in the film, Perfect Blue feels even more relevant now as social media has become even more commonplace. Not for the faint of heart, Perfect Blue should be on every film lover’s “to watch” list if they have not already watched it before.

What did you think of Perfect Blue? Let me know in the comments below!

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Review

X (2022)

A24 have established themselves as mastered of horror over the years and they show no signs of slowing down with the release of X, a film that incorporates elements and homages to traditional slasher films such as The Texas Chain Saw Massacre. The film is set in 1970s Texas and follows the cast and crew of a pornographic film, led by the ferocious leading lady, Maxine (Mia Goth) and her producer boyfriend, Wayne (Martin Henderson). When the group arrive at their barn filming location, it becomes clear that the old couple who own the main house are not quite what they seem and what follows is a slew of gruesome murders and violence galore.

The film is written and directed by Ti West, who has become prolific within the horror world. West definitely has a brilliant eye for direction as X thrives on the distinct vision that beautiful style that serves as a homage to previous Texan horrors, while also subverting the tropes associated with such films. Protagonist Maxine is the perfect example of this as she is unashamed in her sexuality, while also displaying a fearless attitude, a polar opposite description of many female horror protagonists that have come before her. The biggest trope that West seeks to explore is the morality of sexuality. For decades in horror, sex has equated to death for many characters, namely in horror franchises such as Friday the 13th which is full of young people who are slain, typically after engaging in sexual activity. West uses X as a means to discuss this topic and question whether sexuality is morally wrong and what that means. West is undoubtedly an extremely talented writer and has a brilliant way of blending different types of personalities in a natural and engaging way. However, with X, the downside is in the motivation of the film’s villains as it isn’t delved into that much, and what information we are given doesn’t seem to be believable or understandable considering what actions they commit throughout the film. It is such a shame as providing a better backstory with more meaning behind the old couple would bring X to the level of other modern horror masterpieces such as Jordan Peele’s genre-defining Get Out.

With such a heavy emphasis on its lead character, Maxine, it was imperative that West cast an actor who is more than capable of pulling off a layered performance with ease. Mia Goth is the perfect choice, as she has been an integral part of the horror genre for years with supporting turns in films like Gore Verbinski’s A Cure For Wellness, Luca Guadagnino’s remake of Suspiria, and Clare Denis’ High Life. What makes Goth such a brilliant actress is her ability to adapt to any role. Although she has become a staple in horror specifically, the films themselves could not be any more different in terms of characterisation and style. In X, Goth is able to further showcase her range as aspiring pornstar, Maxine. Maxine believes that she is destined for fame and fortune and is willing yo do whatever it takes to get there. Goth is nothing short of phenomenal, and even with the shortcomings of the script, the audience still wants Maxine to succeed in thwarting the killer’s plans and wants her to stop them. X gives Goth the leading role that she deserves after years of being placed in support and it is a credit to her talent and range that she has been able to breathe life in such a fantastic character that has plenty of agency.

While this is definitely Mia Goth’s film, X also boasts an incredibly impressive cast with Brittany Snow and Scott Mescudi in particular providing excellent turns as pornstars, Bobby-Lynne and Jackson. Both make use of the time they have onscreen and West relies on Snow’s beautiful vocal talents as she provides a great rendition of Fleetwood Mac’s “Landslide” in a scene that brings unity and peace for the group before tragedy unknowingly befalls them. Mescudi is charismatic as Jackson and has one of the most intense scenes in the film as he helps Howard (Stephen Ure) look for the latter’s wife, Pearl.

One of the film’s strongest elements is the cinemtography by Eliot Rockett. Inspired by porn films and slasher films of the 1970s, Rockett brilliantly incorporates vintage style filming when it comes to shooting the pornographic scenes. It brings a layer of authenticity and allows the audience to feel immersed in the world that West has created. The heavy use of blood is also contrasted with the minimal, natural landscape that surrounds the barn and the use of minimal locations allows Rockett to create that feeling of claustrophobia and entrapment for the audience.

X is certainly innovative and distinctive in its style and characterisation, but at times this comes at the cost of the plot and villain motivations which doesn’t come across clear or believable. However, it cannot be denied that Mia Goth is an absolute tour de force and is truly one of the best actors working in the horror genre. Showing her ability to lead a film and keep the viewer gripped, Goth’s performance is filled with grit, fearlessness and a depth that has come to define the roles she plays.

What did you think of X? Let me know in the comments below!

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Review

Summer Ghost (2021)

I was fortunate enough to cover this year’s Cardiff Animation Festival and was able to watch an array of films (over 100 in fact!). One of the highlights was loundraw’s debut, Summer Ghost which has a non-traditional running time of 40 minutes meaning that it can be considered either a long short film or a short feature film depending on your point of view. The film follows three struggling teenagers Tomoya (Chiaki Kobayashi), Aoi (Miyuri Shimabukuro), and Ryō (Nobunaga Shimazaki) and their investigation into a local urban legend called the Summer Ghost, a young girl who was rumoured to have killed herself who can be summoned when lighting a firework at an abandoned airfield. When they come face to face with Ayane (Rina Kawaei), the Summer Ghost, the group tries to figure out the truth about Ayane’s death, so she can find peace and move on.

The film marks loundraw’s directorial debut and is based on a script by author Hirotaka Adachi who incorporates many elements seen throughout his bibliography. The first thing that you notice about Summer Ghost is how strong the style of the film is. It’s clear from the beginning that loundraw has a distinct style, while the writing isn’t afraid to venture into mature topics such as mental health, specifically struggles with depression and suicide. Due to the film’s 40-minute running time, there are some characters who are given more characterisation over others as loundraw has more interest in Tomoya and Ayane. This isn’t to say that we aren’t given insight into Aoi and Ryō’s characters at all as we learn about their individual struggles, but there is more emphasis placed on the friendship between the protagonists and their times spent together. The plot of Summer Ghost is fairly straightforward and linear, but isn’t afraid to blur the lines between reality and the supernatural, allowing the audience to escape within the magic of the film’s world.

The film consists of four major characters so finding the right actors to voice them was crucial, especially since Summer Ghost delves into darker themes. In particular, the voice acting provided by Chiaki Kobayashi as protagonist, Tomoya and Rina Kawaei as the titular ghost, Ayane are extremely strong with the latter proving herself to be the perfect choice for Ayane. They manage to bring life to their characters and perfectly put across the complex emotions that these characters feel through the duration of the film. The scenes in which Tomoya and Ayane spend time together without the others feels extremely intimate and secret with Kobayashi and Kawaei conveying great chemistry for the characters, so the audience believes that they have an organic and natural friendship, despite the short amount of time that we see them spending together.

The soundtrack composed by Akira Kosemura, Itoko Toma, Guiano, and Hideya Kojima perfectly conveys the fantastical elements of the plot as it incorporates whimsy, especially in the scenes when we are first introduced to Ayane and when Tomoya first flies. The composers treat Summer Ghost as though it were a feature with his score as he allows the tracks to become loud and powerful, bringing forth the characters’ feelings during the unspoken moments. There is a contrast between the tracks that accompany scenes that take place in the “real world” and those that accompany supernatural scenes as the former seem to feel more standard and repetitive as though to exaggerate the repetitive nature of everyday routines, while the supernatural tracks are more unpredictable and whimsical in their sound. Despite having four different composers working on the film, the soundtrack works well when put together as it shows the complexities and differences between the characters and their individual perspectives.

Summer Ghost may have a non-traditional running time of 40 minutes that teeters between short film and feature film length. However, this doesn’t take away from Adachi’s beautiful script and the vivid visuals as loundraw makes use of every single second. Whether loundraw decides to revisit the world of Summer Ghost for a feature-length project in the future or decides to leave the project as is, it’s clear that he has a firm place in the future of anime and is a voice and visionary to watch out for as his studio, Flat Studio begins to develop even more projects.

You can read my write-up on Cardiff Animation Festival here.

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Julia Ducournau: Double Feature

Horror has seen s huge resurgence in recent years, especially when it comes to original ideas. Directors such as Ari Aster and Robert Eggers have helped propel horror into a new era. However, oftentimes, the female perspective is forgotten and just as there are many male horror directors, a number of women have come forward to craft their own visions such as Jennifer Kent’s debut The Babadook and Rose Glass’ debut Saint Maud. Another director who has made waves is French director Julia Ducournau who made her feature debut in 2016 with her coming-of-age horror, Raw, while her followup, Titane is even more brutal and explicit in its gore and walked away with the top prize, the Palme D’Or at the 2021 Cannes Film Festival.

The first thing you may hear when coming about Ducournau’s films for the first time is the controversy that surrounds them. Her films are not for the faint of heart and even hard-core horror fans have been known to flinch once or twice at some of the scenes. However, her approach to “body horror” is not gratuitous in the way that many male directors have done in years past as Ducournau gives power to her female protagonist rather than writing female characters that have been created to be tortured.

Raw (2018)

Ducournau’s feature debut, Raw, could initially be mistaken as a regular coming-of-age story as Justine (Garance Marillier) is about to start veterinary school. However, things take a deep dive into horror territory as lifelong vegetarian Justine discovers that she has a hunger for raw meat, especially human meat. Raw was met with much controversy on release as word spread that people fainted during the screening due to the explicit gore. It is a shocking film to watch and one that can cause upset due to the content, but Raw is an intricate commentary on the female experience and the pressures and expectations that society places on women.

Titane (2021)

Her second film, Titane, also made waves on release and follows serial killer, Alexia (Agathe Rousselle), who is impregnated by a car and subsequently begins to experience horrific bodily changes. When Alexia goes on a murderous rampage, she disguises herself as a missing boy and finds herself living eith the boy’s father, Vincent (Vincent Lindon), who also has his own fair share of bodily issues. Titane is unflinching and unapologetic in its approach to discussing gender and subverting traditional and stereotyped gender roles. You can read my full review for Titane here, but needless to say, it is a wild ride from start to finish.

What makes Ducournau such an exciting filmmaker is her fearless approach to filmmaking. Not only does this fearlessness relate to the subject matter or the scope of horror involved, but the way that she directs is truly innovative and unique. Ducournau’s ability to capture the essence of femininity and the horrors within are second to none and this makes her a force to be reckoned with. Since making her brutal debut with Raw, Ducournau has garnered a reputation for her unflinching perspective on the female gaze and gender, taking her place among the best horror directors while doing so.

Which Julia Ducournau film is your favourite? Let me know in the comments below!

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Last Night in Soho (2021)

Trigger warning: This review delves into various aspects of Last Night in Soho, including its depiction of sexual assault and rape.

Edgar Wright’s latest film Last Night in Soho had its premiere at this year’s Venice Film Festival and has undoubtedly been one of the most discussed films of the year so far due to its eclectic merging of genres and time periods. The film follows aspiring fashion designer, Ellie (Thomasin McKenzie) as she moves to London to study fashion design at the London College of Fashion. Not everything is so simple though as Ellie is able to see the ghost of her mother in mirrors and when she moves into a bedsit after her stay in student halls go wrong, she begins to see visions of a young woman called, Sandie (Anya Taylor-Joy) and her struggle to become a famous singer in 1960s London. What follows is a film filled with many twists and turns until Ellie begins to lose her sense of self as the past begins to catch up with her and she finds herself at the heart of a mystery that explores darker and timely subject matters such as sexual assault, loss, and treatment of women.

The film is directed by Edgar Wright who cowrote the screenplay with Krysty Wilson-Cairns. The film is filled with Wright’s signature flair and use of vibrant colors. However, where a lot of Wright’s previous films are filled to the brim with larger than life characters, there aren’t as many in Last Night in Soho. This could be because the film dives into much darker territory than others and doesn’t have the same level of humour. A lot of the controversy generated from Last Night in Soho is with regards to the writing and it’s clear that Wright and Wilson-Cairns have tried to use the paradox between periods to discuss sexual assault but it doesn’t feel as though the script delves deep enough into the trauma and psyche of the victim while explicitly showing various scenes of abuse and rape. To see such an unflinching depiction of sexual violence against a female character has caused a lot of understandable upset amongst victims and the level of upset could be because the script doesn’t do a lot to delve deeper into the mentality and characterisation of the female characters as it could have done.

Thomasin McKenzie plays the film’s lead, Ellie, and it’s great to see her star on the rise as she has provided such brilliant performances previously. McKenzie does what she can with the character but it doesn’t feel as though Ellie’s character is fleshed out enough which is unfortunate as McKenzie is a fantastic actress. On the surface, it can seem that Ellie simply has visions and then subsequently runs around screaming but there is obviously something a lot deeper going on. It could be argued that her mental health has taken a toll since the loss of her mother and it would have been so interesting to see the screenplay delve into this aspect a bit more so we could understand Ellie better. Even though she is the protagonist, Ellie is an observer and an outsider in her own world and the world of the 1960s. When she is dreaming, she is lurking on the edges of the frame as she enters Sandie’s world whereas in her own life, she is an outcast among her peers and cannot seem to fit in anywhere. It feels as though the film happens around Ellie and we don’t see her character develop as much as it should do through the film’s two hour running time.

The highlight of the film is Anya Taylor-Joy as Sandie, the woman Ellie observes in the 1960s. From the moment Sandie enters the film in a flowing pink chiffon dress with her hair in a bouffant style, the film begins to find its momentum. Taylor-Joy is absolutely electric as Sandie and is arguably the film’s heartbeat and keeps the audience gripped. Sandie is an aspiring singer who befriends manager, Jack (Matt Smith), who promises her the world so long as she stays by his side. What follows is a downwards spiral where Sandie is taken advantage of at the hands of many men thanks to Jack’s greed and lust for control. Even in the film’s darkest moments, it is Taylor-Joy’s sincere portrayal of Sandie that lets the audience into the world that the film inhabits and wanting to know how the story ends.

Another small but great performance is provided by the late, great Diana Rigg as Ellie’s landlady, Ms Collins. As mentioned, it is only a small role but she fills it with such intrigue that when she is onscreen, she grabs the attention. Her final scene in which she confides in Ellie is brilliant and highly intense, showing that you don’t need bells and whistles for great characterisation whilst also boasting the flawless subtleties when reflecting on her previous scenes.

Another highlight of the film is the original score by Steven Price which highlights the horror tones of the film. A lot of the tracks feel reminiscent of horror films from 1960s and its clear that this is what Price wanted to convey. It is the score that provides the dark undertone throughout the whole film and leaves the audience in anticipation, especially as the visions start to take place and the puzzle begins to piece itself together.

Last Night in Soho is a difficult film to discuss due to its subject matter and the way this is handled. It is clear that it has been made with good intentions but whether it is successful in what it is trying to say is another thing. There are aspects of Last Night in Soho that are great such as Anya Taylor-Joy’s performance and Steven Price’s score but the overall tone of the film feels conflicted and confused, especially as Ellie’s characterisation doesn’t feel completely realised. Last Night in Soho is a departure from Wright’s other films and although it doesn’t have the same spark as his previous outings, it will be interesting to see where his career goes next.

What did you think of Last Night in Soho? Let me know in the comments below!

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Shepherd (2021)

Shepherd is a British horror written and directed by Russell Owen following Eric (Tom Hughes) who gets a new job as a Shepherd on a remote island following his wife’s sudden death. The film follows Eric’s descent into madness as he is faced with strange happenings during his stay which force him to relive his wife’s extramarital affairs and her eventual death. The film begins to unfold as we learn more about Eric and what happened in his marriage through the duration of the film. A slow-burner that feels intricately detailed in its writing, Shepherd is one of the best British horrors to be released this year thanks to the originality and impeccable performances.

The film is Russell Owen’s third feature and he both directs and wrote the screenplay. What makes Shepherd such an engaging watch is how well Owen paces the film by allowing us to feel Eric’s sanity unravel. Owen doesn’t rush in and explain everything to the audience but allows the film to naturally develop in a way that feels believable and that we go through the journey with the character. Utilising the Scottish scenery, the film is open in its setting and yet we feel trapped as Eric is contained in his own head. He isn’t free wherever he goes and this contrast is what makes watching Shepherd such an unpredictable experience.

Tom Hughes is excellent in the leading role as Eric. Due to the nature of the film with Eric being alone for a large portion, it’s important to make sure that the actor is capable of carrying the film on their shoulders. Having starred in an array of film and television shows, Hughes is the perfect candidate thanks to his ability to really dig deep into Eric’s madness and his troubled past. The scene in which Eric’s mother “finds” him at the cottage is particularly harrowing as he goes through physical and psychological trauma. His ability to convey the character’s complex emotions is what drives the film on and makes the audience want to keep watching.

One of the best British character actors of the big and small screen is Katie Dickie, who has acted in her fair share of horrors including Robert Eggers’ The Witch. Here, Dickie plays Fisher, a mysterious woman who takes Eric to the island and gives him the rules of living in the rundown cottage and the job. What makes Dickie’s performance so effective is how she can convey so much terror without saying a lot. In many ways, it feels as though Fisher is always lurking nearby even when we don’t see her. Dickie’s performance is quietly horrifying and from the moment we first see her on the boat we know something is not quite right.

The use of sound in this film is fantastic. The majority of the film utilises the sounds of the cottage and island but when there is music, it is spectacular. The score by Callum Donaldson helps the tension to build up and drive it right over the edge as Eric’s sanity begins to collapse. The track where Eric is subjected to his fate perfectly captures the chaos of the situation and the character’s torment. The scores prominence increases as the film goes on implying that, like the landscape, it is a part of the character himself.

Overall, Shepherd is a film that leaves you gripped thanks to its unpredictable nature and the way that the story unfolds merging both mystery and horror. The way that the landscape and internal anguish are blended into one makes it seem that Eric is never alone, even when he doesn’t have an onscreen partner. Hughes is fantastic in the leading role and is sure to have a promising career while Owen has established himself as a brilliant horror director who is sure to also have a great many more films to add to his filmography.

Shepherd is coming to UK cinemas on 26th November 2021!

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London Film Festival 2021: Titane

There is always a film every year that pushes the boundaries of violence and taste beyond question. While these films generate a lot of publicity thanks to polarising reviews from critics and cinemagoers alike, these films never seem to win a lot of major awards. This year is different. Julia Ducournau’s sophomore feature, Titane, took critics’ breath away at Cannes Film Festival where Ducournau won the top prize, the Palme d’Or with a film that follows serial killer, Alexia (Agathe Rousselle), who has sex with (and is subsequently impregnated by) a car. If this isn’t complicated enough, Alexia disguises herself as a teenage boy, Adrien, who has been missing for ten years and is taken in by his fire captain father, Vincent (Vincent Lindon) who has developed an addiction for steroids in a bid to become the man he once was. Both characters then explore differing issues with the body as they are individually manipulated by their desire to be someone else.

Directed and written by Julia Ducournau, Titane is a film that holds no punches in its plot as well as the filmmaking approach. What Ducournau does so well is allow the camera to linger as though it is an observer which serves into the horror aspect well as it makes the film completely unpredictable. As with her debut feature, Raw, Ducournau isn’t afraid to push boundaries and incorporate universal issues in her film, specifically exploring gender through the female gaze in a way that feels distinguishable among a genre that is dominated by the male perspective. There is no “final girl” in Ducournau’s films as she completely subverts the traditional horror template and instead uses body horror as a way to instigate discussions on the human body.

Newcomer Agathe Rousselle makes her mark as Alexia in a role that requires a lot of physical and emotional range. The daughter of doctors, Alexia spends her free time modelling in car shows and murdering people. When her murderous ways begin to catch up with her, she has to physically manipulate her body to disguise herself as a teenage boy, all while pregnant from a sexual encounter with a car. Rousselle is absolutely relentless in her performance and pushes herself to ensure that Alexia’s physical and mental struggle is perfectly pur across to audiences. We see the character in her prime scantily clad as she dances on the classic cars with plenty of admiring spectators waiting for her autograph. This contrasts greatly as she covers herself in bulky clothing whilst taping down her breasts and stomach to hide her pregnancy in a bid to eliminate any trace of the feminine body. Alexia is a character of little words but she doesn’t need speeches to convey how or what she is feeling and Rousselle pulls this off brilliantly in what feels the breakout performance of the year.

In support is acting veteran Vincent Lindon as Adrien’s father, Vincent, who works as a fire captain. Vincent is a man who has spent the last ten years of his life plagued by grief due to the loss of his son and dedicated his life to work, injecting himself daily with steroids in a bid to maintain a traditionally masculine body. Acting as Alexia’s pilar opposite, Lindon is vocal and emotionally vulnerable, wearing his heart on his sleeve in a bid to get his son to open up to him. His protection over Adrien threatens to be his downfall as he begins to lose respect of the fellow firefighters, even venturing down violent avenues to stop them from speculating about Alexia. Where Alexia has to disguise as the opposite gender in a bid to stay hidden, Vincent hides behind the illusion of toxic masculinity, believing that the steroids will allow him to eventually become the man he once was before his son went missing.

One of the most striking elements in Titane is the cinematography which is handled by Ruben Impens. Having worked on the cinematography for Raw, Impens was the perfect choice for Ducournau’s follow-up and the results are fantastic. Impens’ approach seems effortless while also relentless as he allows the camera to sit and show us everything where most horrors would cut away. One sequence that is particularly brilliant is when we see Alexia walk through the car showroom and observe her fellow dancers, the spectators, and the cars as she makes her way to the dressing room only for the camera to pan to a car where she is already on top doing her dance. It is this kind of seamless unpredictability that makes the film such a thrill to watch.

Another highlight in the film is the music which is composed by one of the most exciting composers working today, Jim Williams. Having previously worked on a variety of different horrors such as Ben Wheatley’s Kill List and A Field In England as well as Brandon Cronenberg’s Possessor and Ducournau’s debut film, Raw, Williams proves that he is the right person for the job and uses elements of the machinery and industrialist sounds to create a score that sounds like a new form of horror music. The music never feels like it overwhelms at any point while also timing itself perfectly so it beats in conjunction with the film. One such highlight is the explicitly named “Car Fuck” track which plays through the scene in which Alexia has her sexual encounter with the car. The score intensifies subtly building like a traditional horror track while never feeling melodramatic or parodying the genre or subject.

Titane has become one of the most discussed films of the year and with good reason. Although proving to be too overwhelming for some, Ducournau has shown that she is a filmmaker to pay attention to thanks to her modern take on body horror and how it can play into gender roles and identity. Titane is a complex film that goes much deeper than its controversial subject and is definitely a film that you won’t soon forget.

Titane is released in the UK on 31st December 2021!