Here are five horror films set in frozen landscapes that you may not have heard about—and that are all really worth watching. It’s a beyond-The- Shining-and-beyond-The-Thing list—for all those who love the harsh bleakness, the existential desolation, of those snow-blasted films.
From what I’d read before going in to David Gordon Green’s Halloween (2018), I was expecting a portrait of the deep and lasting effects of grief and trauma. The film chooses to ignore all the sequels to John Carpenter’s 1978 original and picks up the story of Laurie Strode (Jamie Lee Curtis) many years later, after two failed marriages, a daughter (now estranged), and a granddaughter. Instead of a complex study in the lingering after-effects of trauma, however, Green’s Halloween gives us simple, unalloyed rage. A fitting Halloween, perhaps, for our own anger-filled post-Trump moment.
Obviously my title here is reductive. No three films can explain any other, especially when that other film is Apostle, the enormously rich new folk horror film by Gareth Evans. But this is a series we’re running (3 films that explain another)—and these three films do explain some things about Apostle, if not everything.
They are The Wicker Man (Robin Hardy, 1973) –not surprising because so far virtually everyone has compared the film to Hardy’s classic folk horror film—The Village (M. Night Shyamalan, 2004 ), and mother! (Darren Aronofsky, 2017), a film I express my loathing for here, but which is nonetheless an important film.
CRITICAL CONVERSATIONS IN HORROR STUDIES
Series editor: Dawn Keetley
Lehigh University Press is introducing a new series, Critical Conversations in Horror Studies, edited by Dawn Keetley, Professor of English at Lehigh University. We are seeking manuscripts in all areas of horror studies, broadly defined.
Grimmfest is Manchester’s premium international festival of genre film, including (of course) horror, and it will be enjoying its 10th anniversary when it opens on October 4-7, 2018. The final line-up is now out, and it includes some fantastic films.
This year, Grimmfest has partnered with House of Leaves Publishing in the promotion of their forthcoming book, Scared Sacred: Idolatry, Religion and Worship in the Horror Film, to offer day passes to the 2018 festival. For more information, please visit Scared Sacred‘s crowdfunding page.
Ahead of Grimmfest’s opening, I interviewed Senior Programmer Steve Balshaw about Grimmfest—and about the broader shape of horror today.
What do you think is distinctive about Grimmfest?
First and foremost, the range and selection of films. We are interested in exploring the darker side of cinema, in all its various forms. Obviously, our focus has always been on horror, and to a lesser extent science fiction, but we have also found space over the years for Southern Gothic, Crime and Film Noir, black comedy, Fantasy and even Sword and Sorcery, as well as cinema that it simply weird, wired and utterly uncategorisable. Genre cinema has always been pretty broadly defined anyway, and we will screen everything from grindhouse to arthouse. Over the years, we have developed an international reputation for pushing at the boundaries of genre, and focusing on more left-field and independent material, rather than more mainstream horror and sci-fi films. We like to stretch and redefine the parameters, and hopefully we will continue to do that. If we like a film, and think our audience will like it, or simply that they need to see it, we will try to find a slot for it.
taking horror seriously so you don't have to
