A criminal complaint described the frantic minutes before police discovered the lifeless Marisol Duran, 32, bleeding beneath a blanket in her 14th-floor apartment.
His House
It was a scary year. From corporate multiplexes to mom-and-pop operations, theaters shuttered for good or reopened to lackluster pandemic box office reports. More eyes turned toward platforms like Netflix, Shudder, and other providers scrambling for hot-ticket exclusives. But with titles like “Candyman,” “Halloween Kills,” and even A24 notables like “Saint Maud” vacating their 2020 slots, international fare always destined for video-on-demand premieres no longer faced the same mainstream competition. Tales of terror produced outside American borders became more commonly seen and essential to the horror genre.
Advertisement
Among these ranks are films and talents that drive the conversation behind broader representation in horror by exemplifying how originality starts with acceptance. As American government officials debate about walling the country off from neighboring lands, the horror genre is actively working to smash these ugly barriers to rubble. Acco