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These eyes. Grand open, one more than the other. The pupils moved almost abnormally. An open mouth, the cries you see before hearing them. But then they penetrate one, inexorably. What does this woman see? Do we want to see him too? Yes? No? Yes?
The cry is Toni Collette, lead actress in Hereditary. The movie made headlines in the US for weeks, calling it "the scariest horror movie of years". Critics have included the debut of Ari Aster, a little over 30, in a series of classics such as Rosemary's Baby and The Exorcist. That's fine, "hereditary" is indeed an important step. It breaks down the boundaries of the genre, without focusing on the immediate moments of horror.
On the contrary, the film begins slowly, as a family story: upper middle class, villa in the birch forest, please take off your shoes on entering. In the center stands Annie who screams, whose mother, who also lives in the house, has just died. At the funeral, she gives the speech and can barely hide that her relationship with the deceased was difficult. "She was rather reserved" is one of the most positive things she said. But now mom is dead and took her secrets and her ghosts into the grave. Think!
It's still too early to scream. Finally, Annie, who creates models of houses and landscapes in her work, lives in orderly conditions. There is her husband, played by Gabriel Byrne, who can look so sad in the world that he wants to console him all the time (or does he hide something?). There is the son, diligent and lethargic, who closes for hours in the room (so normal for his 17 years). And there is the girl, full at puberty, who does not speak three words, but who makes it the strangest face that we have seen on the screen for years (even the young ones of 14 years are known). A very normal family, with their daily peculiarities. But then. ,
Some Movies Never End for the Spectators
Do We Really Want to See the Horror? It's one of the oldest issues in the history of cinema. Even at the beginning, when the film was still a kind of carnival attraction, the audience was afraid, for example, of a train that was coming up and the fact that it could escape from the screen of those present. Of course, nobody really thought that, but they were happy to give in to the illusion. And soon enjoyed the pleasant fear. The first film adaptation of Mary Shelley's horror novel "Frankenstein" already existed in 1910 as a silent film. And in 1922, "Nosferatu – A Horror Symphony" by Friedrich Murnau became a "Dracula" version that still survives today.
These early films fed cozy dread, cast expressionist light and shadow and gave goose bumps. But the surrealists were responsible for the first real horror. Luis Buñuel and Salvador Dalí opened their half-hour "An Andalusian Dog" in 1929 with a scene in which the look of a woman is cut off. The shock was huge. Do we want to see that? Yes, the scene – filmed with a cow's eye – is still being discussed today. Even though at the time of the break most of them look elsewhere.
Since then, all horror movies have shuttled between these poles. There are the shockers, where you are projected from the effect to the effect like on a roller coaster, after "The End" everything is over and quickly forgotten. And there are movies that do their work more smoothly, though that and there are moments of surprise, but not at first to frighten the audience. They have been developing their horror for a long time. Sometimes they never end.
Official trailer of the film "Hereditary". Video: Youtube / KinoCheck
Here's how "Hereditary" works. There is also a shock effect, but it happens so abruptly that it could almost become a parody, though it was not so serious. But then slowly the whole spectrum of the genre is approached. Does it haunt the house? Are family members obsessed? Who helping friends can you trust? Is it even possible to rely on someone?
Of course, there is also a political reading of this story. "Hereditary" can be understood as the image of the United States today, where the selfishness of the individual is placed above the responsibility of society. And where the desire of a leader, as obscure as it is, is enormous. Even if nobody knows where it will lead.
The horror takes place on the face of Collette
Horror movies are, of course, always a reflection of the society in which they were born: zombies, such as she introduced George A. Romero for the first time in 1968 in its modern form, are easily understood as a criticism of the modern consumer society, after all, they like to rage in supermarkets. And the horror film "Get Out", which was presented at the Oscars last year, reflects the situation of blacks in white society.
It can not be a coincidence that there are still some things to come in the summer. And not only with movies like "The Nun", an offshoot of the very successful occult series "The Conjuring". There are also reinterpretations of classics such as "Halloween" (for which the queen who screams then Jamie Lee Curtis comes back to the camera). And a remake of the Italian Suspense of Dario Argento, which is now refined by Luca Guadagnino ("Call me by your name"), of course with his favorite actress Tilda Swinton.
Horror as far as the eye can see. But "hereditary" stands out. The film tells the least terrible by what it shows. He presents it largely on the face of Toni Collette who screams. It expresses everything, horror, fear, obsession. We read this face first, only then to advance in the reality of evil.
Will we see it? Of course. And if we close our eyes from time to time, it's not a contradiction. But a compliment.
(SonntagsZeitung)
created: 07.07.2018, 19:34
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