Nanny
Nanny begins with Aisha (Anna Diop) asleep. Shadows, undulations, and a spreading dampness affect her bedclothes, while a spider makes an entrance just as Aisha wakes with a start.
The Menu
With his cold, enigmatic handsomeness and piercing blue eyes, Ralph Fiennes was meant for villainy.
Barbarian
Lately, the art of crafting a subtle and captivating movie trailer feels lost. But the official trailer for Barbarian not only grabs your attention, it also manages to reveal the film’s critique of gender dynamics while keeping the main story line hidden from view.
Pearl
This past March, X, Ti West’s gleefully raunchy hybrid of two late-’70s subgenres (farmhouse horror and farmer’s-daughter porn), overachieved in four meaningful ways.
Speak No Evil
The English title of Christian Tafdrup’s third feature initially reads as a strategy to draw horror fans, a pleading form of genre assurance that the film’s anodyne original Danish title, Gæsterne, or The Guests, cannot offer.
What Josiah Saw
The enduring allure of Southern Gothic seems inextricable from the biblical entropy that haunts its storytelling, segregating it from the vagaries of time and culture wars like an oppressively protective porch mama.
She Will
An intriguing slice of Gothic psychological horror, She Will follows Veronica Ghent, an aging, high-maintenance, pill-popping ex–movie star recovering from a double mastectomy.
Watcher
The toxicity of the male gaze has rarely been depicted on-screen with such chilling intensity as in Chloe Okuno’s debut feature Watcher.
The Innocents
As The Innocents opens, a family of four are in the car headed to a new home. In the back seat sit two sisters: the lightly freckled Ida , her intense stare much older than her 9 years, pinches her older, nonspeaking autistic sister, Anna. Is it a playfully innocent gesture, testing a disability that she, like everyone else, can’t fully understand? Or is there something more sinister, Village of the Damned–style, at play here?
We’re All Going to the World’s Fair
I haven’t seen Jane Schoenbrun’s first feature, a 2018 documentary entitled A Self-Induced Hallucination. The film’s IMDb page offers a teasingly terse synopsis: “It’s about the internet, and it’s quite strange.” Schoenbrun’s fictional follow-up, a chamber horror that is strange, about the internet, and is concerned with self-induced hallucinations, appears to be a sort of companion piece…