changes and trends in horror-genre films are linked to the anxieties of the culture in its time and place. Vampires are the manifestation of grappling with sexuality; aliens, of foreign influence. Horror from the Cold War is about apathy and annihilation; classic Japanese horror is characterised by “nature’s revenge”; psychological horror plays with anxieties that absorbed its audience, like pregnancy/abortion, mental illness, femininity. Some horror presses on the bruise of being trapped in a situation with upsetting tasks to complete, especially ones that compromise you as a person - reflecting the horrors and anxieties of capitalism etc etc etc. Cosmic horror is slightly out of fashion because our culture is more comfortable with, even wistful for, “the unknown.” Monster horror now has to be aware of itself, as a contingent of people now live in the freedom and comfort of saying “I would willingly, gladly, even preferentially fuck that monster.” But I don’t know much about films or genres: that ground has been covered by cleverer people.
I don’t actually like horror or movies. What interests me at the moment is how horror of the 2020s has an element of perception and paying attention.
Multiple movies in one year discussed monsters that killed you if you perceived them. There are monsters you can’t look at; monsters that kill you instantly if you get their attention. Monsters where you have to be silent, look down, hold still: pray that they pass over you. M Zombies have changed from a hand-waved virus that covers extras in splashy gore, to insidious spores. A disaster film is called Don’t Look Up, a horror film is called Nope. Even trashy nun horror sets up strange premises of keeping your eyes fixed on something as the devil GETS you.
No idea if this is anything. (I haven’t seen any of these things because, unfortunately, I hate them.) Someone who understands better than me could say something clever here, and I hope they do.
But the thing I’m thinking about is what this will look like to the future, as the Victorian sex vampires and Cold War anxieties look to us. I think they’ll have a little sympathy, but they probably won’t. You poor little prey animals, the kids will say, you were awfully afraid of facing up to things, weren’t you?
24K notes
·
View notes
One of these days, someone is finally going to create a faithful screen adaptation of Dracula. The found family will be prioritized. Dracula will be horrifying, not just alluring. There will be nods to the queer undertones and gender role fuckery of the book. All three suitors will be present and accounted for in all their bumbling, gun-totin', well-meaning glory. Mina Harker will be just as brilliant and sweet and badass as her book counterpart. Jonathan Harker will not be shoved to the side but recognized as the determined, devoted, strong character that he is. Lucy Westernra will not be reduced to a slut who got what she deserved and her loss will be profoundly felt in the narrative. There will one day be a screen adaptation of Dracula that recognizes that this story was never about him. Dracula is the name on the cover but it was never about him. It was about the kind, cunning, and brave group of friends who, when faced with unspeakable horror, came together and defeated it.
There will one day be a screen adaptation where Quincey Morris gets to kill Dracula.
2K notes
·
View notes
The way Suguru looks at Satoru has me by the neck already, but the way Satoru looks at Suguru?? Oh my god.
That’s his entire world right there. I don’t know how to explain it but these frames just scream “all Satoru sees is Suguru.” Like. He adores Suguru.
Don’t get me started on the look in his eyes when Suguru expresses his concern over his overuse of his technique. The vulnerability? The way he looks surprised, the way it looks as though he feels seen for the first time ever? There is something so tender about this. I can’t even describe it but it’s just there.
“I’m fine.”
Satoru knew damn well he wasn’t okay. No one sneaks up on him. I know he had to have been freaking out on the inside. How did he sneak in? How did I not sense him? No one gets behind me, no one is stronger than me, what’s going to happen?
But he held it together for Suguru. I feel like it’s instinct for him to automatically reassure Suguru, regardless of if it’s true or not. He schooled that expression on his face and looked so gently at Suguru…man.
You can just see how absolutely devastated this man is in the moment he has to kill the man he loves.
The split second he defied all logic and believed that, even though he’d killed Suguru with his own hands, Suguru had somehow survived? The elation on his face to see him one last time?
“It might be goodnight for me, but it’s about time for you to wake up.” This is the smile he had on his face before calling out to Suguru, attempting to reach into the land of the dead for him. It’s like in this frame instead of the monster inhabiting Suguru, he just saw Suguru.
The last thing he sees before he gets sealed is Suguru’s face, smiling. I can’t imagine the anguish he must have felt here. It’s almost as if he’s clinging to it, trying to pretend that it really is Suguru. Trying to convince himself what he knows isn’t true.
Conclusion: there is no one that loves anyone as much as Satoru loves Suguru.
1K notes
·
View notes