Being alone indoors is a common facet of pandemic life, but in The Vigil and Saint Maud, it’s also a recipe for religious horror. These two films, which recently hit VOD and streaming, bend in opposite directions yet are cut from the same cloth. Both have first-time writer-directors at the helm and both are distributed by indie-horror labels (IFC Midnight and A24, respectively). Moreover, both center on an isolated individual who comes to believe that a supernatural force is reaching out to them. In The Vigil, it’s a demon from Jewish folklore, the mazzik. In Saint Maud, it’s a Welsh-speaking version of God himself.
Throw in a twitchy dead body under a white sheet, and a bed-ridden woman who’s ready to go Regan MacNeil on you, and you might think you were in store for a schlocky double feature. We’ve seen plenty of flicks like that (not naming any names, but there’s a whole subgenre of exorcism movies, many of which carry abysmally low Tomatometer scores.) What separates The Vigil and Saint Maud from those and unites them as thematic cousins is their serious-minded depiction of trauma and mental health.
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Science fiction and horror collide once again in Our House, a new “sci-fi skin-crawler” that tells the story of a brother and sister who, in an attempt to harness wireless electricity, accidentally unlock a doorway to the afterlife and bring their parents back from the dead. Unfortunately, the spirits that occupy their home aren’t exactly happy about the family reunion – they’re shadowy figures with smoky tendrils for fingers, and things seem to get spookier from there. Read More »
Unless you’ve been living in total isolation for the past week, you’ve surely heard about Pokemon Go, the new mobile game that uses augmented reality technology to allow users to search the physical world for adorable little monsters that only exist through their smartphone cameras. While virtual reality has been the Next Big Thing in gaming for years now, Pokemon Go feels like the first step in a revolution. VR may still be huge, but AR has officially tapped into the public consciousness in a big way.
In other words, IFC Midnight couldn’t have picked a better window to begin marketing their new film Let’s Be Evil, which revolves around augmented reality. And creepy artificial intelligences. And creepier children. And what certainly looks like a body count. We’re pleased to premiere the official poster for director Martin Owen‘s new film, which you can check out below.
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David Cronenberg‘s new film Cosmopolis played to pretty good reactions at Cannes; there were those who didn’t find it compelling, but that’s actually reassuring, as a Cronenberg movie seems like it shouldn’t be for everyone. Now we know when the US will get a chance to see the film. eOne picked up Cosmopolis prior to Cannes, and is rolling it out in other countries now, with a Canadian opening tomorrow and UK bow a week later.
eOne plans to distribute Cosmopolis in the US starting on August 17, which is a bit earlier than we would have expected it to land. Still, we’ll take all the Cronenberg we can get, and as soon as possible, please. To that effect, hit the break for info on how Cronenberg’s son Brandon Cronenberg will have his film Antiviral distributed by IFC Midnight. Read More »
For the past year IFC has bought up a lot of left-field, genre and oddball movies to distribute in the States. It started with Antichrist — not such a weird buy, given the prestige status of Lars von Trier — and then went to Valhalla Rising, Human Centipede (First Sequence) and Enter the Void, among many others.
Now IFC has spun off a genre label called IFC Midnight, which is a name that has been used by the company for a slate of on demand films in the past. It sounds similar to Magnolia’s offshoot Magnet, and will send all these films to video on demand, DVD and some theatrical releases. Read More »