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# Are We In A Horror Film Renaissance?

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<!-- video src="https://cdn.jwplayer.com/manifests/qUXjGvdk.m3u8" -->
## Video: Are We In A Horror Film Renaissance?

[Watch (HLS stream): Are We In A Horror Film Renaissance?](https://cdn.jwplayer.com/manifests/qUXjGvdk.m3u8) (3:16)

![Are We In A Horror Film Renaissance?](https://cdn.jwplayer.com/v2/media/qUXjGvdk/poster.jpg?width=720)

_Published 2018-06-08. The horror-movie genre is on the brink of a renaissance. Or is it?_


---

Jul 28, 2023 4:19 AM UTC

---

## More From This Series

[All Videos](https://time.com/video/)

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### 2018 Top Horror Flicks

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### 5 Top-Grossing Horror Films Made on a Budget MONEY

[Shinola and Detroit's New Renaissance](/video/cbyF4TMq/)

### Shinola and Detroit's New Renaissance

---


## Transcript

[ MUSIC ] [ NOISE ] [ SOUND ] The horror movie genre is on the brink of a rennaisance, or is it? In writer- director Ari Aster's Hereditary, Toni Collette gives a Terrific performance as an artist whose family is haunted by a particularly creepy curse. You might think you've seen this type of story hundreds of times before. But Hereditary is a well crafted horror picture that's hitting at just the right time. Unsettling in its arid, controlled creepiness, it's a movie about feeling small and inconsequential in the larger pattern of danger churning all around And like some other recent works of horror.

Get out! Yo! Jordan Peele's Get Out, or A Quiet Place, directed by John Krasinski, hereditary works by building and sustaining a mood of dread rather than relying on jump scares or outright gore. In other words, Hereditary is part of a trend toward a more sophisticated kind of horror filmmaking than, say, the torture porn horror that dominated the scene through most of the early 2000s. Have we finally entered an error when horror can be Be taken seriously as a genre. [ MUSIC ] The problem with that argument is that it stems from the false assumptions that horror has never deserved to be taken seriously.

Horror movies often speak of deeper anxieties in a culture. Sci- Fi horror films of the 1950s like Invasion of the Body Snatchers and Them, riffed on American unrest over nuclear experimentation and the threat of communism. Joseph Ruben's the stepfather from 1987, about a seemingly normal guy who murders his family because it fails to meet his perfectionist standards, is the quintessential Reagan era chiller, a parable about the illusory nature of order and prosperity. People often say I can't tolerate horror movies. What's happening? Because they're thinking of slasher films like Halloween or Friday the 13th, or sadistically violent films like Saw and Hostel.

But what about Robert Wise's 1963 Shirley Jackson adaptation The Haunting? Which terrifies only by whispery suggestion? Or Alejandro Amenabar's bleak, elegant 2001 ghost story, The Others? Where's my daughter? Are you mad? I am your daughter. Then there's Dario Argento's outrageously opulent 1977, Suspiria. It's fuchsia blood splattered, art nouveau, bordello a goo goo esthetic is one of moviedom's great visual pleasures. Luca Guadagnino, director of Call Me By Your Name, clearly feels that way too. He's making his own version of the film set to be released later this year. So while this new wave of horror movies isn't necessarily breaking new ground, it does represent a shift.

A mind is a terrible thing to waste. These filmmakers are operating at a high level of craftsmanship. They're more interested in teasing out subterranean fears than in grossing us out or being punishingly graphic. Saying I don't like horror movies is like saying I don't like love stories. You just haven't met the right one. Do you like scary movies? Uh- huh. Maybe at long last it's time to come back to the world of horror, to let yourself go and let yourself be scared. [ SOUND ]

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