Grist for the Mill
I was watching some new horror movies in January and they were all been pretty damn interesting - Part II
I wrote about IT FOLLOWS, US, and BARBARIAN in Part I - feel free to check it out before reading about these final two horror flicks.
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The aim/hope is that every story I imbibe [film, comic, novel, tv, etc] gives me another arrow to slide into my quiver. Sometimes writing about it is what unlocks that arrow’s ability - the act of thinking and turning the story in my hands transforms a blunt wooden shaft into a Boxing Glove Trick Arrow. Maybe. Let’s find out.
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MIDSOMMAR
I already knew so much about this film just from existing on Planet Earth over the past decade, and yet I still found myself completely lost in the storytelling and atmosphere of this one. While it has it’s gory moments, it’s definitely the least “horror” of these films in many ways because it’s primarily a story of relationships, grief, and the beliefs that people hold that make them do and justify plenty of actions.
The film seems to be about the justifications, and genuine salvation, that religious thought can offer. It doesn’t seem to be presenting these elements as positives, but it also doesn’t outright condemn them. We are left to observe and make up our own mind, which is a journey slightly warped as we are also influenced by the emotion of the main character, Dani. Her grief, and our desire to see her free from it, means we might end up allowing certain moments and outcomes to happen with a different thought than we probably should.
The fact all of the men she travels with are variations of shitty caricatures of the worst kind of men we know in all social circles gives us a very different view of the world at the start of the film, and the world as it’s slowly changed by the mushroom-powered Swedish village.
I’d heard the men all represent elements of The Wizard of Oz - needing courage, brains, heart, and being the terrible man behind the curtain of it all - and I think that’s an interesting way to frame it. It leaves nowhere for Dani to retreat or find solace as she’s adrift and we almost prefer her to be that way than to settle or mildly change any of them enough to make them palatable for a landing pad.
THE LIGHTHOUSE
This is similar to the above as it’s a real tone piece of a film. Abstract and loaded with meaning in the way we associate cliche art films to be, there’s also this straight narrative beneath it all of two men looking after a lighthouse and the inner terrors this slowly unravels.
Much like the other films, you really can’t spoil too much beyond the main premise, except to say it’s weird, it’s wonderful, and it’s worth the wait. Both actors really do put everything into their roles and make them deeply riveting to watch. The emotions constantly vary from scene to scene from genial to frothing rage, and you believe it at each turn.
Dafoe’s brimstone-laden monologue - where he doesn’t blink once - really is unnerving and powerful.
Ultimately, I see this film as being about male relationships, and the elements young men don’t understand about their older mentors. Acceptance is craved, but friction is constant because neither knows how to break down the barrier with calm honesty and transparency. Erratic walls are thrown up to protect truth and raw feelings and the result is just needless obfuscation and seething emotions and these boil and simmer at varying degrees.
The power of an honest conversation is shown as it is lacking and it could resolve much.
The ominous sound design and some brilliant shots make the tone of this film a deep pit into which you just need to sink and listen and feel around with your hands - it’s about the experience, not the resolution. When something like this appears on your screen, it’s a sign to appreciate and continue to think about what exactly has been shown to you.
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I think what’s ultimately interesting to me about these 5 films is all of the various social themes they explore. Issues around sex and gender, race and social action, grief and relationships are all brought to the fore in interesting and meaty ways. The lure could be the warped or violent narrative turns, but the things that stick with me are the questions raised and the possibilities defined.
I believe every story is about something, even when that’s not intended, as the values of the filmmaker come through in every choice - but it’s nice to watch stuff intending to be about human ideas, and then giving us some sticky moments that mean we continue to think about these films/ideas long after they end.
It’s a reminder for me, as always, that I love to play in genre stories and tropes, but I also want my stories to always be deeply about things that matter to me and on which I wish to offer unique and thoughtful perspectives/moments.
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Be one of the good guys, because there's way too many of the bad.
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Who is Ryan K Lindsay?
I’m an award-winning Australian comic writer. I’ve been published by Black Mask, Dark Horse, ComixTribe, Mad Cave, IDW, Heavy Metal, Vertigo, and a few more. Kickstarter has been a home for many short comics. I often get to collaborate with great mates, and this brings me joy.
I write about balancing this creative game alongside a full teaching load [currently College English] and a lovely family load and the forever melting brain that is modern man. I think about a lot of stuff, I still don’t know if it’s the right stuff. ymmv.
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