Clever and socially provocative, Talk to Me is the horror breakout of not only the summer but the year. It centres around grief stricken teenager Mia (Sophie Wilde) who, along with a group of high school friends, experiments with an embalmed hand that possesses the special ability to connect with the dead and allows users to grant spirits permission to enter their bodies.
This innovative picture comes from the minds of Australian filmmakers Danny and Michael Philippou known primarily for their pioneering Youtube content on their channel RackaRacka. Talk to Me premiered at Sundance Film Festival and was rightfully an instant hit with audiences and film companies alike; the movie was picked up by infamous production and distribution company A24. Not only does Talk to Me provide a haunting yet beautiful viewing experience, it dives into the importance of identity and tackles the idea of how a horror movie would play out in the modern, digital age.
The film’s directors have spoken about how Talk to Me explores the theme of connection and how Mia, shrouded in grief from the recent loss of her mother, is yearning for a connection to anyone or anything that will make her feel something (Fandango, 2023). Though what stood out to me the most was Mia’s connection to herself; her sense of identity. As aforementioned, Mia is struggling to cope with the passing of her mother and the consequential grief that has begun to consume her. As a result we realise that a part of Mia has died along with her mother, leaving a gaping hole in her sense of self that she is desperate to fill. Enter the embalmed hand which allows one’s body and soul to be consumed by a relentless cycle of spirits.
This addictive activity works on two levels to fill the void left by Mia’s mother. Firstly, the euphoric feeling of being possessed functions like a drug, providing her with temporary relief from the hopelessness and loss that currently defines her. Secondly, the act of allowing a spirit to physically force itself inside her shows Mia’s desperation to find an identity again, even if it is not her own. Talk to Me follows Mia on her distorted and somewhat futile journey to find herself again and warns that altering your reality – using drugs or possession – cannot change the circumstances under which your identity was broken in the first place.
(ScreenRant, 2023)
Elaborating on the subject of reality, Talk to Me further examines a world in which we are perceived and scrutinised through a digital eye. We are introduced to the hand via a snapchat story in which a girl is clearly suffering at the hands of whichever spirit is coursing through her. When the camera draws back we see her distress illuminated by the light of several phone cameras, eager to document her torment. Furthermore at all the parties hosted by Joss (Chris Alosio) and Hayley (Zoe Terakes) – the current owners of the hand – every possession is filmed and made public.
This highlights the significance social media has on an individual’s reputation as, a humiliating experience with the hand would obviously bring with it an embarrassing reputation, later exhibited when Daniel (Otis Dhanji) has a turn with the hand. The film encourages viewers to realise the importance society places on a social media presence and a digital reputation; this generation is so immunised to the pain and suffering of others that they will happily record and publicise it if it promises a positive online reaction for themselves. It is only when Mia requests they use the hand outside the presence of phones and social media that the focus shifts from creating thrills and a viral video to Mia’s dependency on possession in order to feel whole again.
(BlackGirlNerds, 2023)
Talk to Me not only blurs the lines between the real world and the digital one but as the story develops we see Mia’s reality and the spirit world begin to intertwine. In between Mia’s innumerable possessions she begins to encounter spirits outside the use of the hand. Specifically she starts to see her mother who makes her question what is right and wrong and encourages her to inch further away from her own sanity.
Mia is presented with a morally impossible decision in order to save her friend with the manipulative spirit of her mother looming over her shoulder, trying to force her decision. The climax of Talk to Me is beautifully twisted as it portrays a loving mother-daughter relationship ripped apart by death and warped by grief. Here the Philippou brothers stunningly capture the fragility of the human mind and how the death of a loved one can cause our tether to reality to unravel.
Talk to Me exhibits all the shock and exhilaration ever present in Danny and Michael Philippou’s work and presents a unique ability to portray dark, mature and malevolent themes in a heartfelt and delicate way. The film emphasises a modern society’s dependence on a sense of identity established through our connections to one another and governed by how we present ourselves online.
Talk to Me sheds light on the fact that we are all one emotionally wrenching experience away from losing our grip on reality and severing all ties from our own sense of self.
Our student write Hayley is back with a review of Beau is Afraid.
Beau is Afraid is the 3rd feature length film directed by Ari Aster (Hereditary, Midsommar) It stars Joaquin Phoenix as Beau who is trying to get back to his mother’s funeral. To go into more of the plot would take away from the experience of watching the film. Its definitely the most bonkers film I have seen but in the best way possible. Aster has created a psychedelic, psychological, horror comedy that stays with you long after you leave the cinema. Mainly as you will be asking what the hell just happened. I can see it being a film you will need to watch more and more to see all the little details.
Beau is Afraid feels very different to Aster’s other work. It doesn’t have a cult/folk feel to it. I’m excited to see where he goes from here, whether that be exploring horror or other genres.
Beau Is Afraid feels like something between a person’s fever dream and a breakdown due to grief. These themes change throughout the film, it definitely keeps you on your toes. No matter how many times the themes change throughout, there is a level of care and passion throughout that can be felt. Aster has created a world that has no limits to the imagination.
The standout performance for me was of course Joaquin Phoenix himself. He makes you sympathise with Beau and want to follow his journey. All you want for him is to get back home. The people he meets along the way feel like villains from other horror masterpieces. Such as Nathan Lane in an almost Misery kind of tale. This is his first foray into horror and I hope it isn’t his last.
The visuals on screen are just wow!! You get taken away to different places through Beau’s imagination. To me that’s where the horror comes from. Aster has taken the format that what we see in our minds is always scarier than what we see on screen. Seeing the different places Beau goes to in his mind and how they play out is a great way of showing horror in a very subtle way. You’re never quite sure what’s gonna happen or see next. The ending comes out of nowhere but to be honest I wouldn’t expect anything less from Aster. Being nearly 3 hours long it does have slow moments, but never feels like a slog or a chore to get through. Sitting in the cinema it felt like no time had passed. It was a film I had been desperately waiting for, for a couple of years. I wasn’t disappointed at all. If anything I’d say it was better than I was expecting. it’s definitely a film going in knowing as little as possible and expecting the unexpected.
10- Soundless screams (Insidious: The Last Key [2018])
Insidious: The Last Key often goes unrecognised in the grand scheme of the Insidious universe despite being the franchise’s most profitable film, meaning that many of its brilliant surprises also go overlooked. One of these potent frights showcases a fear that many of us will have experienced in some of our worst night terrors – attempting to scream, but nothing comes out. The scene shows a key-clawed demon plunging its talons into its victim’s throat, trapping their breath and brutally silencing them. The harsh effects of such a moment make us squirm at the mere thought of running out of breath in a room full of air.
9- Ultraviolet (Insidious [2010])
The first entry into the Insidious franchise remains one of the best out of the bunch, mainly due to its simple scares that build up slowly, leaving us in suspense as we sit and wait for a big jolt to the senses. This brutally slow tension is brilliantly captured in the picture-taking sequence as we follow paranormal investigator Tucker around the haunted home, looking through a UV lens to identify suspicious activity. As Tucker flicks through the lens settings, we see an ordinary hallway plain as day, that is, until two wide-eyed ghosts suddenly appear in the frame, grinning ear to ear with the most menacing smile possible. It’s a classic scare. One that takes minimal moves to enact, but the slow anticipation of knowing you are in for a fright provides the scene with maximum payoff.
8- Beware of the wardrobe (Insidious: Chapter 2 [2013])
Tin canned walkie-talkies make a terrifying comeback in Insidious: Chapter 2 as we see the Lambert brothers trying to settle after the events of the first film. Upping the nostalgia factor is the inclusion of the tried and tested closet jumpscare. A sleepy Dalton soon realises that it’s not his brother at the other end of the line, but instead a sinister voice with bad intentions. As Dalton begins to sit up in anticipation, replicating the viewer’s goosebumps, a gangly monster leaps out from the closet and bolts to the door before turning to Dalton and unleashing an almighty scream as it glares a haunting stare from its jet-black eyes. It’s a scene to behold and an instance that brings us back to our innermost fears of monsters lurking in the dark crevices of our rooms.
7- Baby monitor (Insidious)
Since their mass popularisation in the mid-1980s, baby monitors have become a pinnacle prop in cinema, with films such as The Baby’s Room (2006), Nocturnal Animals (2016) and Lullaby (2022) all utilsing the radio system as a horror instigator. In Insidious, the baby monitor tactic is used continuously to elicit big scares over small instances of time, with the strange utterances heard over the transmitter multiple times. In the beginning, each baby check ends in a fake scare, one where the spookiness is almost a hoax. However, during the third case, the camera finally reveals a pale-faced, vampiric-like, suited ghost ominously staring over the child. The baby monitor scene is an exercise in deceit, ceaselessly building up until we no longer expect a reveal of any sort, until that dreaded moment where we are taken by utter surprise.
6- Crossing the street (Insidious: Chapter 3 [2015])
Insidious: Chapter 3 is brimming with some truly underrated shocks and startles, with the ‘car crash’ scene being a prime example of the film’s ability to seize the reins and make an ordinary segment transform into a nightmare. Quinn Brenner is a troubled young girl haunted by her mother’s death. Hoping to regain a sense of normalcy, she pursues her dreams of entering a performing arts school. After a mediocre audition, she is left even more disheartened; despite that, her night is about to worsen. Crossing the street, she sees an eerie figure waving at her in a hospital gown, catching her attention in the middle of the road. Suddenly a screeching car comes into the frame, smashing into Quinn as she falls lifeless on the floor. It is one of Insidious’ more grounded scares, with the terror of an unfortunate real-life affair, with the zooming car and sudden collision with Quinn’s helpless body being somehow more terrifying than a world of ghosts and ghouls.
5- Sheet ghosts (Insidious: Chapter 2)
Joining the likes of baby monitors and closet ghouls is another quintessential genre favourite, the classic sheet ghost. The blank, expressionless demeanour that the cloaked spirits withhold provides the perfect minimalistic scare where just the visual alone is enough to send shivers up your spine. In Insidious 2, we are confronted with a ghastly team of veiled feinds, sat eerily still with their clawed, decayed hands peeking out from underneath the cloth. The image alone is the definition of nightmare fuel and is utterly unforgettable.
4- Knock-knock (Insidious: Chapter 3)
The horrifying scene begins rather innocently with Quinn gleaming from hearing her ‘neighbour-meets-crush’ knocking on her bedroom wall from the otherside. Their sweet morse code leads to Quinn texting her admirer, only for him to reveal that no one is home. The sudden realisation that the knock is coming from a sinister presence makes our stomachs drop at the pertriyfing awakening.
3- The big reveal (Insidious)
Insidious begins as a rather mundane, yet alarming, haunted house meets possession story. However, during the finale, all hell is let loose as a whole movie universe is unleashed, revealing that the paranormal happenings run further into the veins of the Lambert family than anyone could have ever imagined. Within this reveal, the Insidious franchise was birthed, with the film’s layered lore opening up within the final act.
2- Tiptoe through the Tulips (Insidious)
Many of us will be familiar with the nerve-wracking ring of Tiny Tim’s falsetto voice singing his hit ‘Tiptoe Through the Tulips’, thanks to its appearance on many creepy internet videos. However, its best use has to be in the first entry into the Insidious world, with the song playing over one of the series’ scariest moments. As Renai unpacks belongings into her new, seemingly ‘unhaunted’ home, a little boy appears in the corner of the frame dancing along to the spooky chime of horror’s scariest song.
1- The Lipstick-Faced Demon (Insidious)
It would be criminal not to include the franchise’s most iconic jumpscare in this list. While Dalton’s grandmother discusses how the demon attacking Dalton may hold a greater significance than first believed, the now-infamous ‘Lipstick-Faced Demon’ appears behind Josh with a brazen ferocity, followed by the most gut-wrenchingly loud orchestral swell. The result of the stunning score combined with the incredible graphics of the demon and the sudden hecticness of the incident makes this scene the most memorable and effective in the franchise.
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The video nasties captured an era in horror that is known for its splatters, slashers and slayings, with nearly every film being truly disturbing and graphic. As time has moved on and cinema has become increasingly expressive, an endless amount of explicit films have entered the market. Many contemporary horror films would not have just made the video nasties list, they would have caused complete civil uproar.
In ode to this, here is Dead Northern’s official guide on post-2000s movies that would’ve definitly made the video nasties list.
1- The August Underground Trilogy (Fred Vogel, 2003-2007)
Whilst this is not a singular film, it would be criminal not to include all three entries from the infamous August Underground Trilogy on this list. The Fred Vogel and Allen Peters created series exudes its ghastly energy primarily due to its firsthand perspective, posing as found footage that dares to show every crevice, slash, and deadly deed using a point-of-view angle. If the personalised feel of the film is not enough to turn viewers’ stomachs, then the heaps of incredibly vicious violence are bound to do the trick.
2- Atroz (Lex Ortega, 2015)
Similar to August Underground is Atroz, a semi-mondo film that explores the dark depths of humanity and the will to create absolute destruction. The film speaks for itself; every scene is atrociously outrageous, but one particular moment truly bites the bullet and takes the film from hardcore to pure extremity. As those steel-nerved viewers will know, Atroz’s utilisation of barbed wire and a handheld camera makes for one of the most unsettling experiences ever to taint the screen.
3- Irréversible (Gaspar Noé, 2002)
Gaspar Noé is known for being a provocative auteur, with each of his films startling, riveting, and stirring the audiences in ways they never thought possible. His incredibly dark films include I Stand Alone (1998), Climax (2018) and, most importantly, Irréversible. The most notorious scene from the film must be the immensely cruel tunnel ordeal that shows one of the worst crimes possible in an unforgiving manner. However, an aspect of Irréversible that gets commonly overlooked is the revenge sequences showcasing the impressive talents of Vincent Cassell and Albert Dupontel.
4- A Serbian Film (Srdjan Spasojevic, 2010)
In the confines of mainstream cinema, A Serbian Film has become somewhat of a curse word that, when uttered, instigates a slew of harsh comments and side-eyes from offended spectators. A Serbian Film’s strikingly disturbed subject matters often overshine the remarkable cinematography and performances within the film. Each visually captivating scene is made even better by Srđan Spasojević’s portrayal of Miloš, an exotic actor pushed to the brink of insanity.
5- Inside (Alexandre Bustillo and Julien Maury, 2007)
The Christmas movie market is donned by classics such as It’s a Wonderful Life (1946), the heartwarming Love Actually (2003), or the gut-wrenchingly bloody tale of a Christmas Eve Home Invasion flick… The Alexandre Bustillo and Julien Maury directed horror belongs to the marvellous string of French cinema known as ‘New French Extremity’, with each subgenre entry being utterly barbaric and definitely worth watching. Inside takes one of the most vulnerable subjects, pregnancy, and creates a blood-soaked thrill ride that promises some mental scarring after viewing.
6- Dream Home (Ho-Cheung Pang, 2010)
Dream Home’s chaotically violent content is a cut above the rest. Every kill scene is steeped with such creative ferocity that it’s nearly impossible to forget the ruthless acts, particularly a segment involving an unorthodox use of a vacuum cleaner. Seconding the film’s impressive visuals is the equally saddening backstory that documents the severity of the housing crisis, poverty, and healthcare.
7- Antichrist (Lars von Trier, 2009)
Like Gaspar Noé, Lars von Trier is a brilliant director with a keen eye for abominable terror. Out of his countless portrayals of the gritty side of humanity, the most callous and beyond entertaining film is Antichrist. The movie is not necessarily extreme, but the final act introduces visuals that would have placed Antichrist straight on the nasties list!
8- Dard Divorce (Olaf Ittenbach, 2007)
Olaf Ittenbach’s Dard Divorce takes the phrase ‘not for the faint-hearted’ to the extreme, with Ittenbach’s no holds barred approach resulting in some of horror’s most intense imagery. Dard Divorce will leave you quivering in disgust but still craving more.
9- Visitor Q (Takashi Miike, 2001)
Visitor Q is just one example of acclaimed director Takashi Miike’s incredibly sordid work, with the likes of Audition (1999), Ichi the Killer (2001), Gozu (2003) and Lesson of the Evil (2012) all defining his signature style of depraved cinema. Visitor Q is quite the extraordinary ride into the land of taboo, with nearly every controversial subject matter appearing very detailed throughout the film, whether that’s incest, coprophilia, necrophilia, domestic violence and sodomization.
10- Thanatomorphose (Éric Falardeau, 2012)
Thanatomorphose is astonishingly morbid, repulsive, and somehow impossible not to be fascinated by. The film takes body horror to heights that have never been previously explored in such a graphic way, taking inspiration from The Fly (1986) and Cabin Fever (2002) to portray a metamorphosis journey that shocks and disgusts from beginning to end.
11- Baskin (Can Evrenol, 2015)
What begins as an investigative horror following a group of police officers on a strange call ends up in complete shambles as the film takes violent surrealism to radical extremes. Cult practises and dwindling mentalities, followed by eye gouging, disembowelments, and slit throats, all take centre stage in the criminally underrated Turkish extravaganza.
12- Snuff 102 (Mariano Peralta, 2007)
Mariano Peralta’s terribly callous exploration into ‘real’ death would have surpassed the woes of the video nasty list and resulted in utter pandemonium across the media thanks to Snuff 102’s unnerving study into rebellious filmmaking. No act of violence is left to the imagination as the viewer is subjected to copious displays of evil, horrid, and maniacal acts that many will argue should never be witnessed, simulated or not.
13- The Human Centipede 2 (The Full Sequence) (Tom Six, 2011)
There was not a corner of the internet where Tom Six’s The Human Centipede (2009) was not the hot topic of discussion, with his on-screen visions of humanised insects capturing the intrigue of millions. However, out of the Centipede trilogy, the entry that takes horror to the extreme is the highly underrated sequel. Everything from the black and white colour grading to the devilishly dark performance by Laurence R. Harvey makes The Human Centipede 2 the modern horror classic that it is.
14- Terrifier 2 (Damien Leone, 2022)
Continuing down the path of gnarly sequels is Damien Leone’s continuation of Art the Clown’s (David Howard Thornton) wicked antics, which exhibit a rich display of glorious practical effects. The film is an exercise in exploitation, with nearly every scene caked in viscera, flesh, and more blood than the video’s nasty list has ever seen.
15- The Sadness (Rob Jabbaz, 2021)
The Sadness is by no means the most extreme film on this list. Yet, it most definitely stands for everything that the video nasties advocated against – the film literally is an exploration into a zombie-like virus where the primary symptom is an uptake in sadism.
16- Scrapbook (Eric Stanze, 2000)
Scrapbook takes some of the worst subjects matters one could ever conjure and exploits them in the most viscerally extreme ways, resulting in the graphic images being burned into the viewer’s psyche. Eric Stanze’s cruel dive into assault was required to make over 15 minutes of cuts in order just to receive an 18 rating.
17- Septic (Brian Paulin, 2022)
Brian Paulin’s depraved, disturbed, and distressing Septic is the newest and one of the most immoral entries on this list. Septic takes ‘goresploitation’ to the extreme, with every crime imaginable unravelling onscreen without limitations.
18- The Act of Killing (Joshua Oppenheimer, 2012)
The only documentary on this list is the not to be missed Act of Killing, an invasive telling of real-life crimes that took place during ‘The Indonesian Mass Killings 1965-1966’. Joshua Oppenheimer takes advantage of interviewing the perpetrators of these crimes as they openly and, at times, gleefully recall their abhorrent acts in graphic detail.
19- Capture Kill Release(Nick McAnulty and Brian Allan Stewart, 2016)
Many of the list’s entries include faux snuff films and found footage frights, yet few reach the levels that Capture Kill Release does. the film is brutally realistic and heinous in its approach to the obsession with true crime.
20- Stoic (Uwe Boll, 2009)
Stoic differs on this list due to its heavy ties to the arthouse drama genre rather than gory splatters or found footage films; however, do not let its labelling fool you, Stoic is a Uwe Boll film through and through – a nihilistic, abominable descent into the evilest deeds imaginable.
21- Dumplings(Fruit Chan, 2004)
A controversial film indeed is Dumplings, which originated as a segment in the Chinese anthology film, Three…Extremes. The trials and tribulations of this Fruit Chan directed feature are best left to the imagination, but be warned, you may never look at a dumpling the same way again…
22–Martyrs (Pascal Laugier, 2008)
Despite its harsh take on the moralities and questions of life and the great beyond, Martyrs has become horror royalty, with many viewers praising its effectiveness. The film explores both the fruitfulness and pointlessness of human life and whether or not ultimate sacrifice is genuinely achievable.
23- X (Ti West, 2022)
Ti West’s triumphant return to the horror genre had an incredibly warm reception, with fans counting X as a modern horror must-see. X may be slightly tame in the grand scheme of current releases. Still, the film’s displays of the adult entertainment industry against the backdrop of murderous mayhem would have certainly had the video nasty campaigners in hysterics.
24- Philosophy of a Knife (Andrey Iskanov, 2008)
The Philosophy of a Knife takes inspiration from similar films such as Man Behind the Sun to expose the horrors of war and the absolutely inhumane crimes committed within history. Certainly not for the faint-hearted or easily squeamish is a film that will forever go down in history as a monstrous expose.
25- Where theDead Go To Die (Jimmy ScreamerClauz, 2012)
It is extremely rare to find a film that confuses and startles as much as Where the Dead Go to Die, with every scene making the worlds of Silent Hill or Tetsuo seem totally logical. This animated extreme can only be described as an acid trip into the most bizarre situation anyone could ever fathom.
26- The Strange Thing About the Johnsons (Ari Aster, 2011)
The only short film on this list is a stunningly macabre piece of work from Hereditary and Midsommar director Ari Aster. Upon first glance, this short may seem like a typical suburban thriller where seedy secrets lie beneath the quaint underbelly, but, the scandal in this case, is so gutwrenchingly unholy that it makes Hereditary’s synopsis seem like a fantasy.
27- Grotesque (Kōji Shiraishi, 2009)
Grotesque has still not legally seen the light of day in the UK, with the film being outright banned by the BBFC due to it being a sheer exercise in sadism, void of any redeeming emotion. Whilst hardcore genre fans will argue that the film offers an allegory, Grotesque really is nothing but a gnarly, twisted whale of a time from start to finish.
28- The Bunny Game (Adam Rehmeier, 2011)
The Bunny Game suffers a similar fate to Grotesuqe with the British censorship board banning its release, this time as a result of the film having the potential to cause serious harm, which, upon watching the film, can be fairly estimated, with every inch of the screen showcasing torturous assaultive exploits in full glory.
29- Long Pigs (Nathan Hynes and Chris Power, 2007)
In a similar fashion to films such as Man Bites Dog and The Last Horror Movie, Long Pigs is a mockumentary revelling in the ‘humanity’ of serial killers and the easy-going explanations of their horrendous deeds. Where Long Pigs differs from this typical style of filmmaking is within its beyond rudimental approach to subjects such as cannibalism which take place eerily naturally on screen thanks to the documentary methodology.
30- Melancholie der Engel (Marian Dora, 2009)
Marian Dora is a filmmaker whose work such as Cannibal and Melancholie der Engel, take already graphic exploits and presents them in such a way that nightmares are almost always guranteed after watching. The film does not know where to draw the line as nearly every crime known to man is displayed in an unbearably realistic fashion where simulated or not, you will be pondering whether what you’ve witnessed is legal!
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Since Charlie Brooker’s Black Mirror premiered in 2011, it has been captivating and disturbing its viewers, warning them of technology’s eerie potential. With the latest season making its premiere, here is Dead Northern’s guide on every Black Mirror episode ranked from worst to best.
27- The Waldo Moment (Season 2 – Ep. 3)
The Waldo Moment has definitely become one of the more disliked episodes. It’s not a stereotypically ‘bad’ premise, yet it fails to excite, disturb, or entertain. On its own, this tale of puppetry gone mad does intrigue, but it simply fails in comparison when standing next to the superb offerings from the rest of the show.
26- Men Against Fire (Season 3 – Ep. 5)
Men Against Fire follows the story of Stripe (Malachi Kirby), a traumatised soldier who begins to experience strange sensations that alter his perception and expose the true horror of war. This Black Mirror episode achieves the show’s will to unravel societal issues, but its incredibly bleak tone does not offer much of a rewatch factor nor immerse us as intensely as it could have.
25- San Junipero (Season 3 – Ep.4)
San Junipero is a controversial entry at number 20, an otherwise beloved show episode. It’s a clever feat showcasing the whimsical nature that hides within each one of us, always desperate to prolong the positives of life. San Junipero is heartwarming and breaking at the same time, and above all, it feels somewhat out of place against the show’s darker entries such as ‘The National Anthem’ or ‘White Bear’.
24- Metalhead (Season 4 – Ep.5)
Metalhead is often forgotten in the grand scheme of the Black Mirror world, possibly due to its potent lack of dialogue and the drawn-out storyline that would have been better suited to a runtime of under 30 minutes rather than the 41-minute runtime that it has. Despite the bleakness, the visuals are spectacular, showcasing some brilliantly crafted special effects.
23- Hang the DJ (Season 4 – Ep.4)
Surprisingly, Black Mirror has featured many love stories throughout its run; of course, nearly all of them result in a far-from-happy ending. Hang the Dj’s premise of a dating app that estimates the match’s relationship length makes for a delightfully tragic ending that will catch you off guard no matter how many times you watch it.
22- Hated in the Nation (Season 3 – Ep.6)
Hated in the Nation remains the longest Black Mirror episode, replicating a full-length feature. The politically charged episode tackles the ever-present rhetoric of the dangers surrounding social media and how simple comments and replies can unravel a world of hell beyond the keyboard.
21- Rachel, Jack and Ashley Too (Season 5 – Ep.3)
Black Mirror and technologically charged plots go hand in hand, with many episodes piggybacking off of the horror of the internet, smartphones and surveillance. Rachel, Jack and Ashley Too takes aim at virtual assistant technology and how it has the potential to have a mind of its own. This surprisingly effective episode showcases Miley Cyrus in her best role yet as she performs as a troubled singer.
20- Mazey Day (Season 6 – Ep.4)
Mazey Day is a partial creature feature, as well as an expedition into grief, along with a touch of symbolism regarding the exploitation found within spectacles. This concoction makes for a fruitfully entertaining episode, which, unfortunately sometimes bites off more than it can chew.
19- USS Callister (Season 4 – Ep.1)
Outright inspired by Star Trek, this intergalactic trip is one of the more humorous episodes of the entire show, with plenty of tidbits and giggles amidst the disturbed background of what happens when a video game is taken to impossible heights.
18- Be Right Back (Season 2 – Ep.1)
Every once in a while, Black Mirror will stray away from horror and thriller and anchor onto pure tragedy. Be Right Back tests everyone’s moral constraints, the rights and wrongs of what to do when a loved one passes away. Many of the show’s episodes will make you ponder; however, Be Right Back will genuinely have you questioning what you would do in such circumstances.
17- Fifteen Million Merits (Season 1 – Ep.2)
Fifteen Million Merits is a testament to Daniel Kalyuua’s talents, with the episode primarily following his character Bingham in a world where humanity and currency are on an equal playing field.
16- Nosedive (Season 3 – Ep.1)
Nosedive and the current reality are not too far apart, with the episode focusing on what would happen if your life and wellbeing was directly linked to how you present yourself in an online-like world.
15- The Entire History of You (Season 1 – Ep.3)
Whilst memories can be warm and special, there are aspects of our lives that are best kept in the dark. The Entire History of You takes this idea of controlled memories and transforms it into a world of trickery where lies, affairs, and harrowing grievances are all brought to the forefront.
14- Playtest (Season 3 – Ep.2)
Playtest strains away from the thriller aspect of Black Mirror and diverts into complete sci-fi terrain. The episode focuses on the scariest threat of all, our own personalised fears, with the plot exercising what happens when we strive to make technology too personalised.
13- Joan is Awful (Season 6 – Ep.1)
The first episode of the latest series is Joan is Awful, a comical and tragic story about the increasing use of A.I. in film and television. Whilst Black Mirror is known for its extremities, Joan is Awful is worryingly close to home for many media fans, mainly due to the episode’s use of fabricated reality and computer-generated entertainment.
12- White Christmas (Season 2 – Ep.4)
Christmas specials typically fall on the lighter side of events, but in the world of Black Mirror, Brooker could not have come up with a bleaker plot. White Christmas is a foreboding anecdote about the deep and darkest secrets that lie within every one of us and how no matter how buried these affairs may be, they always have a way of worming to the surface.
11- Striking Vipers (Season 5 – Ep.1)
Striking Vipers offers nothing but jaw-dropping bombshells throughout the entire episode, with the plot taking the unexpected route at every turn. Similar to ‘San Junipero’,Striking Vipers explores virtual reality and escapism, except with a much less harmonious ending for everyone involved.
10- Demon 79 (Season 6 – Ep.5)
Black Mirror is known for its societal warnings about the rise and intelligence of technology. However, Demon 79 bashes away this archetype in favour of an armageddon-like story. It’s a unique episode that entirely stands out against the rest and opens the door for the world of Black Mirror, exploring alternative strains of themes and subjects.
9- Black Museum (Season 4 – Ep.6)
Black Museum is an absolute must-see for any Black Mirror fan, with each frame being filled with plenty of easter eggs from the show’s previous episodes. The premise is highly similar to many episodes, particularly ‘White Christmas’ and ‘Playtest’, with the whole narrative of mind transportation playing a significant role. Yet, unlike the two previous entries, Black Museum’s unforeseen curveballs make it stand above the rest.
8- Smithereens (Season 5 – Ep. 2)
Another criminally undervalued episode is Smithereens, starring the Damsen Idris and Andrew Scott, who steal the entire show unlike any other episode. Smithereens is part character study and part high-paced action thriller that warns about the dangers of social media. Whilst nearly every episode of Black Mirror has some thin veil of the truth lying within it, Smithereens has one of the more plausible fates events, making it undeniably harrowing.
7- Arkangel (Season 4 – Ep.2)
With censorship on the rise, Arkangel seems more timely (and more scary) than ever. A tale of protection gone wrong and the dangers of restrictions make Arkangel the creepy nightmare that it is. Despite some mixed reviews, Arkangel is an excellent example of how Black Mirror manages to both alert and intrigue at the same time.
6- Beyond the Sea (Season 6 – Ep.3)
Black Mirror has a penchant for beginning the episode in one particular terrain and ending up in a completely another emotional dimension. Beyond the Sea is melancholic, dull, and lacking in charisma – all of which are deliberate attributes that emphasise the episode’s existential allegory on the treacherous nature of isolation.
5- Crocodile (Season 4 – Ep.3)
A severely underrated and critically controversial episode is Crocodile, which takes the premise of a spiralling lie to new extremes, where every act of deceit, no matter how small, results in utter mayhem. Crocodile is a fantastic take on a somewhat overused storyline, making it one of the show’s most memorable episodes.
4- White Bear (Season 2 – Ep.2)
Another winning episode from the freshman days of Black Mirror is White Bear, a suffocatingly barbaric ride into what happens when the laws of justice are let loose. White Bear begins in an eerie place where nothing seems to make sense; however, when you compare the first act to the brutal ending, the starting point seems like a fairytale.
3- The National Anthem (Season 1 – Ep.1)
Black Mirror’s first episode, The National Anthem, is a pure force that shakes, surprises and submerses us into a world of deceit where bizarre sequences of events are made incredibly and terrifyingly realistic. The episode takes a heinous storyline and brilliantly implies the ‘tell-don’t-show’ rule, where our imaginations are left to do the dirty work, often resulting in images that are more chaotically cruel than the screen could ever reveal.
2- Loch Henry (Season 6 – Ep.2)
The beam and fascination of true crime seems to have society in a chokehold at the moment, with countless individuals becoming hooked on the ghastly and morbid world of real crime. However, one question that has consistently arisen since the allure of true crime began long ago is whether or not the indoctrination of genuine terror and real-life horror is ethical.
1- Shut Up and Dance (Season 3 – Ep.3)
Contentious subject matters consistently make for intriguing entertainment. Whilst this is a bold statement within itself, when a piece of media both raises awareness and compels graphic dangers, the result can be riveting. This is precisely what makes Shut Up and Dance a phenomenal episode of Black Mirror and arguably the show’s best feature yet. Each twist and turn is brimming with tension and awe, eventually building to a harrowing ending that both catches you off guard and remains ingrained in your conscious long after watching.
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Rob Savage has proven his status as one of the most exciting horror filmmakers actively creating in the current market. His feature debut, Host (2020), made the common Zoom session a playground for ghostly antics to ensue. Following shortly was the enigmatically charged Dashcam (2021) which barrelled in intense humour amidst the backdrop of a live stream. Adding to Savage’s growing filmography is The Boogeyman, an adaption of the Stephen King short story of the same name (1973).
Even in its most complex form, King’s story is simple, far from complicated, and a fundamentally brilliant portrayal of primal fears. Its own directness is what makes it a classic. Bumps in the night, the monster under the bed, and the scared of the dark logic all haunt us at one point; with this in his peripheral, Savage takes heed from extensive explanations and backstories surrounding simplistic innate frights to tackle a narrative brimming with unpretentious scares, and delivering a horror that grapples with urban-legend-like terrains.
As with many big studio-produced films, the story replicates a wave, interweaving emotionally dense performances in between the big scares, working with a continuous play of highs and lows. And for all of the loud, gotcha frights to succeed, a solid backdrop is essential. The film is graced by the talents of Sophie Thatcher (Yellowjackets), Chris Messina (Air), Vivien Lyra Blair (Bird Box) and David Dastmalchian (Dune), all of whom carry the dramatic storyline with ease, but most notably Thatcher, who plays the role of a grieving adolescent heavy with the weight of her sister’s trauma. Thatcher exceeds expectations and propagates the sympathetic tone of the film, ensuring a connection between the screen and the viewer.
The Boogeyman thrives on its traditional expositions, with each act defining a clear climax and then disequilibrium. However, whilst the film is far from dull, there does seem to be an error in restraint. Going from independent to studio filmmaking is a giant leap in creative freedom. It is not uncommon for executives to push specific characteristics or scenes that may generate more of a buzz, increasing the chances of financial success. Whilst this aspect leans more on the positive side, there is such a thing as too much emphasis on creating a film that ‘all’ audiences will love. Savage is such a fierce director, a true force. And yet, The Boogeyman sits at 90% ferocity rather than 100%.
It’s noted that initially, the film had that oomph factor one expects with Savage’s talents, but during test screening, audiences found the original cut too scary, meaning that specific tweaks had to be made. By no fault of the cast and crew, The Boogeyman has a slight fall when it comes down to the fear factor. However, a factor that boosts the film back towards its well-deserved acclaim is its atmosphere which is perfect for cinema viewings – just as movies are made to be seen!
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1 – One film has never made it out of the nasties list
As any horror fan will tell you, the ‘nasty’ period was brutal for the genre, with every film on the list going through rigorous censorship campaigns, resulting in many films not being released fully uncut until the mid-2000s. However, despite the times moving on, one film has still never seen the light of day in the UK. The banned culprit in discussion is Gestapo’s Last Orgy (1977), an exploitation flick centred on the horrors of war.
2 – The media’s concern went further than you could believe
In an interview regarding the nasties’ ability to infect the public’s minds, MP Graham Bright, stated that “research is taking place and it will show that these films not only affect young people, but I believe they affect dogs as well”.
3 – House of Commons goes to the cinema
As part of the NVALA (National Viewers and Listeners Association) campaign to ban the rise of horror, the organisation compiled a compilation of some of the more bloody moments from the films in question. This compilation was shown to ‘prove’ how horrid these films were, eventually convicning parliament to create laws and legislations that would change the path of horror cinema for decades to come.
4 – Real or fake – the case of Cannibal Holocaust (1980)
The infamous Cannibal Holocaust was not neccesarily the ‘worst’ film on the list. However, its use of firsthand footage and its mondo influences meant that director Ruggero Deodato was actually arrested for obscenity. The graphic material was so absurdly gruesome that the authorities eventually changed his charge to murder, as there was ‘no way’ that the performers actually went through the stunts voluntarily. Eventually, the case was settled when Deodato brought out the cast and proved that they were in fact still alive.
5 – Havoc at the video store
When the authorities were at the peak of prosecuting films, they would patrol local video shops hunting for obscene films. However, due to the officers not actually viewing the films, they did not always know which movies to lift from the shops. According to official documentation, Dolly Parton’s comedy musical ‘The Best Little Whorehouse in Texas’ (1982) as well as the acclaimed Apocalypse Now (1979) was seized simply due to their names.
6 – False evidence
It was not uncommon to see newspapers and reports comment upon the nasties as being equivalent to exercises in sadism that have the potential to tarnish the minds of Britain’s youth. However, when this was actually investigated, the results pointed elsewhere. Dr Guy Cumberbath was more than hesitant over the claims, resulting in him interviewing students at primary schools about the latest nasties. Most of the kids admitted to watching these films and enjoying them, but as part of the study, Cumberbatch would ask about fake titles that didn’t actually exist, all of which the participants would claim to have consumed.
7 – The rise in popularity
The protests against the nasties were vigorous and strict, yet that did not stop the list of films gaining significant positive attention. One of the more popular nasties was Sam Raimi’s The Evil Dead (1981), with the film’s first VHS release in 1983 (prior to the Video Recordings Act [1984]) garnered £100,000 in profit from its UK sales, making it both one of the quickest selling video releases in the history of home video.
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CELEBRATE THE BEST OF INDIE HORROR ON THE BIG SCREEN!
Dead Northern Film Festival returns for a fourth year with a three-day horror and fantasy film festival in the heart of the UK’s spookiest city, York.
The festival will be held from Friday 29 September to Sunday 1 October 2023
The programme will feature a 50th anniversary screening of ‘The Wicker Man’, new short and feature films, live events, Q&As with filmmakers and much more!
Following last years success, which saw over 500 admissions, celebrating the best of the indie horror film genre, the Dead Northern Film Festival returns with a thrill-packed weekend.
Horror and fantasy fans are invited to the York’s City Screen Picturehouse to spend the weekend celebrating frightfully good flicks old and new.
The line-up includes a mixture of specially curated new feature and short films from the best talent in the genre, locally and internationally, as well as a celebration of some classic horrors reaching milestone anniversaries.
Folk horror will take centre stage over the weekend with 50th anniversary screening of Robin Hardy’s ‘The Wicker Man’ accompanied by a panel of special guests and a carefully selected group of folk horror shorts.
Beyond the film – Expect interviews with industry creatives
There will be something for all genre fans from creepy thrillers to blood-soaked slashers.
Joshua Lawson Co-founder and director of festival programming says of the line-up: “We’re really excited to welcome Dead Northerner’s back to our most ambitious festival yet.”
“I can honestly say this is going to be strongest line up we have had in our 4 years growing the festival, with an eclectic mix of extra fringe events and activities”.
Festival goers enjoying the City Screen in between screenings
There will also be other surprises for festival attendees including special introductions, guest speakers and, of course, the live events and awards party that has become a fan favourite.
Dead Northern Festival award winners will join past alumni such as Rob Savage (Host) who won film of the year in 2020, and Erik Bloomquist (Ten Minutes to Midnight). With the most anticipated award “Best Death” won by Liam Regan’s Troma hit in 2022 (Eating Miss Campbell) sponsored by Dead Happy.
Liam Regan accepting the award for ‘Best Death’ in 2023
Brand new to this year is the ‘Bizarre Bazaar’ a unique marketplace dungeon of brilliantly unusual vendors dedicated to fans of the horror and fantasy genre.
VIP Weekend Passes for the festival are now on sale with day passes and individual screening tickets set to be available in August when the full festival schedule is released.
One of genre cinema’s biggest classics meets its 50th anniversary this year. Within these past five decades, the already beloved hit has managed to soar further than ever and gain a reputation that many films can only dream of. The grand slam in question is none other than Robin Hardy’s The Wicker Man (1973).
The Wicker Man follows Sergeant Howie (Edward Woodward) as he lands on the grounds of Summerisle, a small Scottish island, to investigate the disappearance of a child. Howie’s puritan ways are tested after being shocked at the Islander’s worship of pagan Celtic gods and behaving in an open frivolous manner, leading Howie to suspect that something suspicious lurks around the corner.
This eerie, dark, and bewitching descent into the greatest monster of them all, humanity, is a momentous feat in the world of folk horror, the genre responsible for creating the most haunting of films. In an ode to classic folk horror, The Wicker Man battles with evil grounds, sordid land and its lust for sacrifice. The 1970s hit thrives in these quintessential folkloric themes that have been utilised and weaponised for decades, yet rather than the film weaken overtime with multiple watches; it manages only to get better, which is equally thanks to the stellar performances and the film‘s unique method of building fear.
Production began in the early ‘70’s after the film’s screenwriter Anthony Shaffer and acclaimed actor/ Hammer Horror legend Christopher Lee began discussing the potential to collaborate on a film that went against the grain of the popular trend of ‘monster movies’. Soon joining Lee and Shaffer was the eventual director Robin Hardy, who was more than on board with creating a horror film surrounding cult and mythology. Looking for inspiration, Shaffer brought David Pinner’s 1967 novel Ritual to the table, which chronicled a religious police officer who travels to a small village looking to solve a sacrificial murder. After negotiations, Pinner sold the rights and production ensued.
For any ‘Ritual’ fans, it may be noted that The Wicker Man is not a direct adaption of the book, but more of a starting point, with the film, eventually forming into a tale about the woes and intrigue of paganism. The Wicker Man poses that the screen did not need to be filled with blood, guts, and gore to obtain a genuinely horrifying response from its audience. Instead, the terror alludes to the animalistic and horrific nature of the Summerisle residents. The film raises its atmosphere solely through methods of intent and interpretation, letting the viewer’s imagination conjure it. Despite how unnerving The Wicker Man’s conclusion may be, the lasting atmosphere is not one of disgust but deep-seated fear and trepidation that the most peaceful environments hold the darkest secrets.
With Lee already on board, they needed to cast the role of Sergeant Howie, the hard-mannered officer. When actors Michael York and David Hemmings declined the role, the reputable television actor Edward Woodward was welcomed onboard. With a solid story and an even sturdier cast under its belt, The Wicker Man began filming mainly along the Scottish coast before wrapping up and editing, which is a whole story within its own right…
From a contemporary perspective, many can confirm that The Wicker Man is a ‘perfect’ movie with no noticeable flaws. However, the post-production indeed travelled across rocky terrain. The studio, British Lion Films, had bought the film, and after seeing the ‘burning man’ conclusion, they demanded heavy cuts to the ending as Howie’s death was too horrid to put on screen. They suggested that the scene should continue, but instead, halfway through, a sudden downpour should occur in which the rainstorm puts out the fire. Luckily enough, the crew outright refused to make this edit and instead negotiated to cut out roughly twenty minutes of build-up scenes.
Adding to the turbulent release journey was the film’s lost footage. After the film had been released, Hardy was determined to restore his vision to its original edit, seeking the complete, original footage to restore it fully. However, he was informed that the negatives were lost, that is, until director Roger Corman (and one of the previous potential distributors) still had a copy, saving the day and leading to a ninety-six-minute version being released in 1979. As time has gone on, multiple versions have been released – an extended cut released by Canal+ in 2001, a limited edition signed version from Anchor Bay in 2005, and most recently, The Final Cut from StudioCanal, which Hardy described as one of the most accurate representations of what he wished The Wicker Man was when it was first released. Unfortunately, the exact carbon copy and precise original cut still have not been found, but that does not hinder what we already have.
With all of the commotion and re-edits, where does The Wicker Man stand 50 years later?
The Wicker Man boomed onto the scene with reviews from prestigious outlets, including Variety, The New York Times, and Los Angeles Times, all praising the film’s slow-burning dread and evocative atmosphere. Decades later, distinguished sources such as Empire and The Guardian ranked the film as one of the best horror movies ever, and for a good reason. The film is not only a genre-defining piece of cinema, a folk horror classic, and a definitive part of British film and media; it is also an intense, burdensome, and wholly unhinged example of how aura and a menacingly slow buildup can leave a lingering mark of fear that does not rely on jumpscares, but our own worst enemy – the imagination.
There are multiple ways to read The Wicker Man, which are all equally frightening. There’s the aspect of nurturing nature, feeding the land souls to prevent disruption. Then there is the religious perspective, where one could comment on how the film elicits fear based on the infatuation of high powers and cults, leading to the abandonment of moralities to serve a spectral being. And then there is the more sinister realisation – forget about individualising fear within the sins of the land, forgo the collective power of cult thinking. What truly makes The Wicker Man claw at the viewer’s skin and then nestle its horror within their being is how mundane the film portrays monstrosity to be. Recalling back to early production stages, Lee, Shaffer, and Hardy wanted the uncanny to thrive amidst a background of sincerity where there were no ghosts, zombies, or knife-wielding maniacs. The horror needed to come from within the Summerisle residents’ souls, not via a weapon or some dressed-up ghoul. The film’s manifesto speaks to the horror within the everyday, an apparent typical atmosphere that holds unearthly secrets. The Wicker Man makes you uncomfortable and on edge from the very first moment. However, it is not until the very last scene that our suspicions are confirmed, and an epiphany reveals itself.
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Robin HardyÕs THE WICKER MAN (1973). Courtesy: Rialto Pictures/ Studiocanal
Robin Hardy’s THE WICKER MAN (1973). Courtesy: Rialto Pictures/ Studiocanal
The lens of folk cinema captures the evil beneath the soil that haunts the land and infects those who rebel against it. Those unfortunate souls who dare taint the grounds suffer greatly, leaving devastation in its wake and causing hysteria and havoc amongst worried souls, simultaneously cultivating rich growth for the horror in lore, myth, and legends. It is an alarming yet alluring ethos that propagates the success of folk horror.
Over the years, folk horror has seen a significant boom in popular horror cinema, with the likes of The VVitch (2015) and Midsommar (2019) and the equally successful but far more underrated Kill List (2011) and The Ritual (2017). With these films holding supreme status in modern horror, a deep dive into the origins of the folk horror subgenre has never been more pertinent.
Where to begin…
Folk horror holds its roots in nearly every country. It isn’t easy to pinpoint a specific religion that holds the key to folk cinema, with the genre belonging to many cultures. Folk derives from folklore, translating to individualised mythology from various societies. What has become known in mainstream media as ‘folk horror’ with all of its iconography and archetypal symbolism is, at the crux, derivative from British lore. For example, the bones of folk horror that audiences have come to know and love today are birthed from Pagan rituals; it’s the profound meaning of life and death, the cycles of nature, and the importance of worshipping a higher power that amalgamates with the genres eerie rhetoric that provides such influential works.
The Unholy Trinity
Every reign of horror has its champions. Folk horror’s genre-defining entries can be found in The Unholy Trinity, consisting of Witchfinder General (1968), The Blood on Satan’s Claw (1971) and The Wicker Man (1973). Mark Gattis first coined the term in the BBC docu-series A History of Horror in 2010, which was soon adopted as the official definition of folk horror’s primary instigators. Each entry into the Trinity is entirely unique and somewhat different from one other despite their blanketing together (which can be quite the metaphor for how broad the scope is on folk cinema).
Michael Reeves’s Witchfinder General chronicles the self-appointed witch-hunter Matthew Hopkins (Vincent Price), following his misdeeds throughout small rural villages across East Anglia. The cruel barbarism that follows in the wake of Hopkin’s actions creates a structure that can only be described as a mob-like ruling where sovereignty is not earned and equally placed but instead stolen by whoever holds the most power. Witchfinder General depicts Hopkins as he storms in and does not simply command authority but instead takes it from his victims.
British folk horror storylines thrive in the social divide seen in the likes of Witchfinder General; the films allude to how the most significant threat does not strictly adhere to paranormal entities and ghoulish ghosts; instead, it’s the same civilisation that one belongs to. This essence of fearing your fellow neighbour and evil lying within the home is further explored in Piers Haggard’s The Blood on Satan’s Claw.
The motivations behind much of the folk horror seen in the mid-1970s surrounded the hippie counterculture that dominated the landscape during that time. The decade saw a rise in young people declaring a belief system that went against the common consensus. They protested the war, dabbled in the increasingly popular substances arriving in the common market, and openly expressed the desire to change the system. The Blood on Satan’s Claw follows a group of young people in a small village being overcome and possessed by the devil himself after a skull is found underneath the town’s ground.
The cult of demon-worshipping children is shown infiltrating and recruiting other members to the group until eventually banding together to cause ultimate destruction. The film can be easily read as an on-screen recreation of the disharmony that was arising at the time, with the notion of sudden societal uproar being one of the critical themes of the film.
Out of the trinity and the entire catalogue of British folk horror, one of the most crucial, successful, and effective films has to be The Wicker Man. Robin Hardy’s classic follows the residents of Summerisle as they complete a ritualistic sacrifice for the land to ensure a fruitful harvest. The Wicker Man remains the most influential folk film and one of the most important horror films in general across British cinema. Throughout the film, the main character is Summerisle. It’s a symbolic living and breathing organism that devotes itself to the people, and in return, the residents nourish it with sacrificial flesh, blood and bones.
Beyond The Unholy Trinity
Amidst the horticulture of the well-renowned Trinity was a string of TV specials that have become ingrained in the thesis of British folk horror. Television, possibly more so than cinema, is entirely reflective of its audience. Britain is known for its blunt and bleak outlooks and humour, meaning that much of the fictitious media to come from the country relies on the nation’s unique nihilistic framings.
Whistle and I’ll Come to You (1968), Penda’s Fen (1974) and Red Shift (1978) are just some of the many television specials that captured Britain’s gloomy atmosphere with the traditional folkloric spirit. With these television specials also came a form of notoriety that allowed folk horror to be available to a broader audience than film allowed. When speaking of the times, not everyone had the time or ability to go to the cinema and view these fantastical folk films. However, many had access to a television set where these spooky entries would interrupt the standard Saturday night entertainment specials to display the most tempered and sinister of frights.
It was a time of paranoia, with the events in the news being scarier than any film or book anyone could have ever witnessed. With this, a level of immunity was stripped back, children would walk past paper stalls with the sinister headlines in full sight, and the daily news report would blare on the radio over breakfast. The presence of these shows was momentous. It was a chance for ghastly stories to enter the home and invade the keep calm and carry on attitude. Folk horror uses the presence of rural locations, familiar faces, and supposedly ‘quaint’ bonds as a vessel for actual, brutal disharmony to break through. The prettiest village harboured the most terrible secrets; ancient curses lay underneath the silent fields, and the longheld family unit could be disrupted anytime.
Today’s context
Folk horror has never been more alive. The messages and symbolism seen in the likes of the Trinity still resonate from a contemporary perspective. For example, The Wicker Man is celebrating its 50-year anniversary this year, yet its connotations are more significant now than ever. With every harvest, the Summerisle residents must offer a human sacrifice to appease the ground’s thirst. In its rawest form, the film’s discourse surrounds how society’s actions profoundly affect earthly structures; the soil beneath us is not forgiving and requires care. Similarly, if we take a look at the whole Trinity, the entire pathology of every film can be sourced back to how the ecological landscape holds great power, and with great power comes a right to respect.
This aspect of the Anthropocene is and will always be a landmark in understanding folk horror. The relationship between land and human intervention is at the heart of many folk entries. As The Wicker Man implies, the people no longer live on Summerisle as simple occupants. They are intrinsically connected to the land. They must offer a sacrifice; otherwise, their well-being will wither with the ground beneath them.
Legacy
Folk horror has birthed an entire subset of movies. Even films that do not necessarily fall into the lines of folk horror weaponise the standard folk format to convey its harrowing message. Take, for example, In the Tall Grass, the 2019 horror based on Joe Hill and Stephen King’s 2012 novella. The film implies that crops hold some form of supernatural power over those who dare to step foot on the land. Even The Blair WItch Project (1999) has a folkloric undertone, with the group of explorers being purposefully misled in a forest due to a presence that controls the woodland. Akin to nature itself, folk horror is everywhere, it’s inescapable and has never been more potent.
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