Perhaps not surprisingly for a group that self-selects for gothy wallflowers, “scary people” tend to have a bit of a sense of oppression. Thus, there is an eternal truth that we see again and again in analysis of the genre: horror gets no respect. This is both true and not true, for reasons that have been discussed to death (no pun intended). What’s more interesting to me at this point is not Why horror is inherently niche despite being extremely popular. how is it To take advantage of that popularity.
It’s a way of tap-dancing toward an interesting development: Distributors who aren’t necessarily known for horror films are using horror to grow. In early October, “The Substance” became MUBI’s Highest grossing film till date At the box office, 2022’s “Aftersun” has doubled its earnings. The online buzz surrounding Coralie Farge’s Cannes screenplay winner was more toxic than the titular neon-green substance, but, in the real world, audiences lined up in theaters like Chicago’s Music Box, where its screenings sold out for weeks.
Now, Demi Moore has been nominated for a Golden Globe for her tremendous performance in the film. But, more importantly for our purposes, it puts MUBI into the heavyweight class of indie distributors currently dominated by A24 and Neon. Like MUBI, Neon has released its share of horror films, but it’s not defined by them. At this time, it is known as the company that won five consecutive Palms at Cannes. But the Palme d’Ors only matters at the box office.
Enter “Longlegs,” which became Neon after surpassing “Parasite” in July Highest grossing film till dateFor those keeping track of such things, this was the best-marketed horror film of 2024. And I’d bet that, moving forward – especially after the debacle of “Immaculate” at SXSW – Neon will use a similar tactic of skipping festivals and showing their horror titles to small groups of critics to build hype. . My opinion is that “longlegs” is fine. It’s certainly a turn toward the populist for the normally more esoteric Osgood Perkins, but it has enough spooky experimental flourishes to keep things interesting. And Maika Monroe, as always, makes for a capable horror heroine.
Whatever the reason, A24 did not achieve the same commercial success in 2024, although “I Saw the TV Glow” was hailed as a masterpiece at Sundance. Neither did IFC/Shadder, although its divisive neo-slasher “In a Violent Nature” did well enough to spawn a new franchise. (A sequel is currently in development.) Instead, every film discussed so far was broken (cut, fragmented, whatever) by “Terrifier 3,” the latest in the series that features a pop- Has become a cultural phenomenon, whether snobs like me like it or not. Tired, artless (again, no sarcasm intended), and regressive, it made $89 million worldwide.
But don’t count out metaphorical horror just yet. Concerns about bodily autonomy, whether in the form of reproductive freedom or trans rights, pervade horror films released in 2024. Brian Yuzna and Screaming Mad George’s body horror gets a feminine update in “The Substance”, and “I Saw the TV Glow” compares the feeling of gender dysphoria to being buried alive. Both of those films explore the body from a non-male perspective (Schönbrunn is non-binary transfeminine), which puts them closer to the most prominent horror trend of 2024: post-Cry pregnancy horror.
At least five films depicting the horrors of being forced to have an unwanted pregnancy are released in 2024: “Immaculate,” “The First Omen,” “Appartment 7A,” “The Girl with the Needle,” and perhaps “Alien: Romulus , although that franchise depicted pregnancy being colonized by an alien parasite before the repeal of Roe v. Wade (on TV, “American Horror Story: Delicate” also fits the brief.) Its political context should be obvious, because Stories of women bleeding in hospital parking lots In states that have severely limited abortion access, child shootings at school have become just as numbingly common.
It’s also not a coincidence that two of those films revolve around nuns forcibly impregnated with the spawn of Satan, given the role Christianity, and Catholicism in particular, plays in this particular form of state-sponsored oppression. It’s also interesting to note that only two of the films mentioned above, “The First Omen” and “Appartment 7A”, were directed by women, and those films place more emphasis on the interiority and individuality of their protagonists rather than sexuality. The spectacle of “spotless” – a fine example of a modern exploitation film, but hardly the most developed treatment of the subject.
They’re also both late-stage sequels to franchises (if you can call “Rosemary’s Baby” a franchise) that no one is that invested in anymore, giving their directors some leeway with the material. . This brings us back around to one of horror’s benefits of being a minor, under-the-radar workhorse of a film genre: There’s actually a lot of room to explore and play within the scope of a Hollywood B-movie like “The First.” Shagun.” As long as a filmmaker hits his expected rhythm – in the old days, it was the nude scenes; Now, this is self-referential lore – studios don’t really care what a director does with a horror movie. And it’s on those margins that the interesting work gets done.
Ten Best Horror Movies of 2024
“Chimes”
In the mid-2010s, Kiyoshi Kurosawa decided he was bored of crafting heart-pounding atmospheres and set himself a new challenge: to shock audiences with random acts of extreme violence committed in broad daylight. To surprise. “Chime,” one of Kurosawa’s three films in 2024, embodies this impulse. The effect is both formally thrilling and intensely unsettling, the kind of movie that follows you home.
Streaming is currently unavailable. Hopefully there will be change in 2025.
“Devil’s Bath”
An instant classic of the “Bleak Week” subgenre (as defined by the American Cinematheque), “The Devil’s Bath” is a historical drama that delves into the psychological realm so disturbing that it becomes a horror film. The morbid detail and grimy nihilism of Veronica Franz and Severin Fiala’s latest are disappointing to a certain type of audience, for whom alienating the masses is a badge of honor. I’ll meet you there, devils.
Now on Shudder.
“Dream Crip”
This short version from writer-director Carlos AF Lopez was ubiquitous on the genre circuit in 2024, and with good reason. It is cleverly conceived, in the sense that it is written in such a way that it can be completed on a minimal budget. What it does with its everyday setting is truly astonishing, and what follows is 12 minutes of extremely strange nightmare fuel. You’ll never look at a meat thermometer the same way again.
Now streaming on MUBI.
“First Omen”
The best of 2024’s pregnancy-themed horror movies so far, Arkasha Stevenson’s stunning, horror directorial debut continues the tradition of B-movies seeking individual expression. The film looks wonderful, is well-acted (star Nell Tiger Free is particularly good) and thoughtfully directed, and imbues its main character with layers of interiority and agency that its There is a shortage of competitors.
Now on Hulu.
“Heresy (Witte Wiven)”
A one-hour film made for Dutch TV that screened at Rotterdam and Fantastic Fest, “Wit Viven” announces an exciting new talent in director Didier Konings. The meticulous medieval setting and supernatural horror are reminiscent of the modern classic “The Witch,” but Konings takes satanic imagery and radical solidarity with satanic outcasts to scandalous new heights.
Streaming is not currently available.
“violent in nature”
My travels on the festival circuit make it impossible for me to be objective about this particular group of Dalits and their mighty struggle To wrap this movie up, but I mean it when I say it: That’s it. This way you push the genre forward without relying on generic nostalgia or pretentious subject matter. Innovative formally but too Canadian to brag about, it radically reinterprets the slasher film while delivering on its most important promises. I saw it three times.
Now onto Shudder.
“I saw the glow of the TV”
One of Jan Schonbrunn’s strengths as an artist is her belief in her vision. And “I Saw the TV Glow” not only has a singular vision, but also the most stunningly beautiful imagination of 2024. Incorrectly labeled by some as a mere piece of nostalgia, it instead clearly reflects the existential pain of watching. Mirrors and not recognizing what you see.
Now on to Max.
“oddity”
Another sophomore feature that delivers on the promise of its directorial debut, “Oddity” is a beautiful piece of filmmaking. It starts with one of the most impeccably crafted horror scenes of the year, and ends on a pitch black punchline. But Irish filmmaker Damien McCarthy’s fascination with bizarre folklore, real and imagined, is what makes this much more than an (exceptionally well-done) exercise.
Now onto Shudder.
“Red Room”
Edgelord cinema at its finest, this French-Canadian thriller takes an ice-cold approach to its hot material. And the effect intensifies. This is what writer-director Pascal Plante has to say Not there. The show is truly provocative, turning star Juliette Gariepy’s unblinking gaze into the audience’s own morbid, voyeuristic imagination.
Available on VOD.
“Substance”
Any film that stirs as much debate as “The Substance” has to be doing something right. As a quirky fairy tale and a thoroughly searing satire on Hollywood ageism and beauty standards, it really worked for me; It’s as subtle as smashing a watermelon with a hammer, but its outburst is true and its splash area is huge. Bring a poncho.
Now on MUBI.
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Moving toward 2025, I’m anticipating the release of a handful of the films I saw at festivals in 2024, but still waiting for the right North American distributor: the J-horror revival piece “Missing Child Videotape,” which premiered on It happened in Tokyo last month. , My favorite “Dead Talent Society”, a Taiwanese horror-comedy with rare charm and popular appeal; the intriguing Midwestern strangeness of “Dead Male,” which screened at both SXSW and TIFF; and “The Last Sacrifice”, a haunting and thought-provoking documentary blend of film history and true crime.