Director Mario Bava insisted that the ability to terrorize an audience is a combination of courage and the ability of a conspiracy to hide its secrets. The director who gave genre cinema several of his classic works, including Demon mask (1960) and Black Sabbath (1963) knew what he was talking about. Several of his best films devoted time and effort to a story that, despite the awkward visuals, hid so much more behind the scenes. Especially when he used mythology, symbols and the complexity of human nature as a backdrop.

As the decades passed, many filmmakers took the Italian master’s advice literally. Gradually, cinematic fear has evolved from a collection of shocks into increasingly complex, strange and sinister stories. Some of them used the codes of the sinister world to tell stories more concerned with invisible and abstract horrors. Others who analyzed the possibility of scares relied on the idea of ​​an increasingly subtle and suggestive plot.

We leave you with five horror films that you can watch without getting too scared. From a time-based game that gets increasingly creepier to a vampire story full of emotion and elegance. All to show that there can be a more subtle side to the macabre than just spilling blood and guts. This point is made clear in this collection.

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Consistency

In 2013, director James Ward Byrkit used the premise of aberrations in time and space to delve into themes of guilt and fear. Consistency It goes beyond being a scary movie. And so it is, and with all the trappings of a particularly frightening one. At the same time, he also explores the field of science fiction. create an ambiguous and overwhelming scenario about the very essence of reality.

The film, which begins with the mysterious consequences of the passage of a comet, ends with a story about the scale of fear emanating from new regions. And this through a group of friends who will experience the rift of time as they know it. The house they live in will become the epicenter of a mystery that will… ranges from encountering versions of ourselves to the possibility of a terrifying future.

Best of Consistent, is that all of the above is presented between conversations and a mundane atmosphere that hides its true purpose. Tell us how, in desperate conditions, we are all capable of the most terrible atrocities. A twist that would take the film to the final stage in the history of genre cinema.

Witch

Robert Eggers’ first film is a mystery that combines legends of medieval witchcraft with psychological horror. The result is a tense script that wastes no time in revealing its secrets and bases its effectiveness on speculation rather than directly showing what’s going on. All of the above is individual this evil spreads through the characters like an infection and becomes an increasingly claustrophobic horror map.

Thomasin (Anya Taylor-Joy) is one of five children of a family of settlers driven out of their New England town around 1630. In the midst of a difficult situation, they all find themselves within the confines of a dark forest, full of myths and ancient danger, trapped between the trees. But when a young woman is forced to face the kidnapping of her youngest son, the evil that haunts her will attack in all its darkness.

With scenes that mimic some of the art world’s most beautiful and dark paintings, The Witch gradually moves through the darkness it tells. And in fact, the plot gives no clues about what is happening until the very final scene. By the time Thomasin understands the nature of the horror she is experiencing, it will be too late to retreat and escape. The most intriguing element of this delicate work.

Runs away!

Director Jordan Peele infuses this false story with a powerful social commentary in which he equates racism with the most savage cruelty. It’s a seemingly idyllic setting that sees Chris (Daniel Kaluuya) heading to what he assumes is a family reunion led by relatives of his fiancée Rose (Allison Williams). But things quickly take a sinister and ruthless turn.

Chris will have to flee from an absurd and grotesque hunt, the purpose of which is to steal his strength and youth. The situation becomes even more confusing when he discovers that the color of his skin is a determining element of the cruelty that is about to befall him. What makes the film a strange mixture of criticism of discrimination and a tribute to the best of low-key horror.

In his conclusion, Peele suggests that the entire scenario he showed inRuns away!, is just the surface of a larger and more intricate phenomenon. But instead of directly exploring this scenario, the director chooses to use dark and creepy humor. close your premises. A rare decision that makes this film a little gem of the genre.

Bo is afraid

Ari Aster turns anxiety, depression and social anxiety into a disturbing scenario that turns catastrophic thoughts into a series of confusing scenes. Beau (the magnificent Joaquin Phoenix) is a man gripped by the cruelty of exile and loneliness. But instead of exploring such a panorama through drama, Asta creates a series of dreams to explore the supernatural.

The result is a nearly three-hour film in which the protagonist’s psychiatric problems and pressures turn into monsters. Moreover, in a dark and cruel version of reality. Not suitable for all viewers, especially impatient ones. Bo is afraidis a horror film that challenges gender expectations.

Livide: cursed inheritance

Abigail was the big surprise of vampire cinema this year, but before that there was French deathly pale Alexandre Bustillo and Julien Maury. The story, which combines the imagery of haunted houses and blood drinkers, has the same premise as Hollywood’s. Namely: a group of criminals becomes involved in a seemingly simple crime that will not require much effort.

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That was until they were mercifully attacked by a voracious creature in the form of a girl. Much more symbolic, elegant and sinister than its North American counterpart. deathly pale is Ideal for those looking for a much more complex type of horror than just gory scenes.

Source: Hiper Textual

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