From Titane to Longlegs: How Neon Quietly Took Over Horror
If you asked most people a few years ago who was “winning” indie horror, the answer would've been obvious: A24, of course. But between 2021 and now, something shifted. Not all at once and not always clearly, but deliberately. While A24 horror started to feel scattered, Neon built something more strategic.
What’s interesting is that Neon didn’t start with a clear horror identity at all. It was built over time, and I track that evolution in three distinct pseudo-phases: pre-Titane, post-Titane, and post-Longlegs. Each phase had a different strategy. First it was discovering talent, then experimenting with identity, and finally scaling into something that looks a lot like dominance.
Ranking the Films of Pasolini
Last year marked the fiftieth anniversary of the death of one of the most important filmmakers of all time. In early November 1975, Pier Paolo Pasolini was murdered. Perhaps the killing was carried out by the militant right-wing group Banda della Magliana–or maybe by an overzealous fan. The case remains open in Rome after the original suspect retracted his confession more than twenty years ago.
I undertake to rank all twelve of Pasolini’s feature films. Of course, the scope of his oeuvre extends beyond these; I recommend in particular his street documentary Love Meetings and his excellent meta short film La Ricotta.
A Brief Defense of "Wuthering Heights"
Emerald Fennell said as much herself: "The thing for me is that you can't adapt a book as dense and complicated and difficult as this book. I can't say I'm making ‘Wuthering Heights.’ It's not possible. What I can say is I'm making a version of it." She put the title in quotation marks intentionally, providing a disclaimer that this film is not the classic text. Every adaptation imposes a vision, turning the source material into something else.
The Oscar Nominees You Haven't Seen
Even the most devoted cinephiles rarely tune in to the nominees for the Academy Award for Best Documentary Short. Most film buffs, myself included, don’t make it to the short film programs or indie showcases where these films typically screen, and many of them quickly disappear into obscurity after their premieres. Perhaps because of this invisibility, documentary shorts have the potential to carry some of the sharpest political messages in today’s cinema. This year’s nominees certainly exemplify this potential, covering urgent topics like gun violence, war, protest, reproductive rights, and, um, wandering donkeys. Despite their small audiences, these films deserve a closer look. They are brimming with provocative voices, even if this year’s particular batch sometimes fails to stick the landing.