Page 6 - ஜெனிபர் கேண்ட் News Today : Breaking News, Live Updates & Top Stories | Vimarsana
«Promising Young Woman» renverse avec brio les codes du «rape and revenge»
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Хорроры как способ самовыражения новых авторов Обсуждаем современные ужастики в подкасте «Смотритель»
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Miriam Balanescu
, May 7th, 2021 09:01
Kelly Reichardt’s forthcoming First Cow, along with Oscar darlings Nomadland and Minari, bring a fresh, environmentally minded perspective to the age-old western, finds Miriam Balanescu
Several men sit at a bar, in a frontier settlement somewhere in Oregon. The Columbia river gushes nearby. They are talking about a cow, the first to be brought to the settlement via the river. Her mate and calf have not survived the journey. “This ain’t a place for cows,” one man says. “Well, it’s no place for white men either,” another replies. Their conversation feels searingly ironic when reflecting on a country whose cinematic history is dominated by white men, and whose national dish is the hamburger. Yet this is also a reminder that much of America’s multinational colonial history has been erased.
Horror might be the genre best-suited to the short-film format. Tension and suspense are both good and worthwhile, and they benefit from the slow-burn, long-form approach of horror directors like Guillermo del Toro, Ben Wheatley, or Jennifer Kent. But straight terror? Terror is an instantaneous reaction that allows for compressed storytelling, and anthology films like
Scary Stories to Tell in the Dark and
The Mortuary Collection leverage this quality to their benefit. Each of those anthologies offer up scares in increments of 20 minutes or so, from the former’s exploding spider bite to the latter’s elaborate babysitting frame story. The buildups are quick, and the payoffs are satisfyingly unsettling.
Huit films inédits à voir en VOD pendant le (nouveau) confinement
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