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La AAA realizará trabajos para mejoras en sistema sanitario en San Juan
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Horror movies were a primarily US form for many years, as the genre was variably considered too juvenile, preposterous, violent, grotesque and/or tasteless in some nations. Government censors blocked their release where such material was considered inappropriate for public consumption; in certain other locations, the public simply wasn’t interested, whether the films in question were imported or homegrown.
Today, however, such cultural differences are largely gone. For myriad reasons, particularly the exported ubiquity of certain franchises online and in home formats, horror has become the most international of genres as well as the one that (due to its commerciality and usually low budget demands) many young filmmakers choose to start their careers with. So it’s not that unusual that this week brings new entries in the form from not just the US, but Argentina, Chile, Indonesia, and Iranian expats.
THE NIGHT Review: Trippy Terror at the Hotel By Chad Collins
Written by Kourosh Ahari and Milad Jarmooz
Directed by Kourosh Ahari
“They hear the truth, morning comes” a malevolent drifter whispers to Neda Naderi (Noousha Noor) midway through
The Night, Kourosh Ahari’s auspicious Iranian-American genre debut. Neda and her husband Babek (Shahab Hosseini) are en route to their home when an auto accident, Babek’s insobriety, and the imbroglio of downtown Los Angeles compel them to pull the car over and rent a room for the night. Things quickly spiral as the Naderis, including their infant daughter, are plagued by specters in the dark, an ever-changing urban landscape, and a morning that defiantly, hauntingly refuses to come. Punctuated by paranoid shades of Kubrick’s
The Night Even though making this as an Iranian film was important to me, I still wanted to make a movie that connects with people around the world, Kourosh Ahari says of his first feature film.
From the early stages of crafting his debut feature
The Night, Kourosh Ahari envisioned a tale of fear, loss and discovery that anyone from any part of the world could relate to. Even though making this as an Iranian film was important to me, I still wanted to make a movie that connects with people around the world, Ahari shares of the mostly Farsi-spoken film. It s a very universal theme and story that everyone, whether Iranian or not, can connect to because it s talking about the human condition that s shared among all of us around the world.
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