
Why Found Footage Horror Movies Keep Creeping Back
In an era when cameras dictate and distort our perception, found-footage horror movies keep creeping back into our never-wholly-real, uncanny world.

In an era when cameras dictate and distort our perception, found-footage horror movies keep creeping back into our never-wholly-real, uncanny world.

The Devil’s Bride is surely one of the most bizarre films from the Iron Curtain; as hallucinatory as anything this side of Teletubbies.

Streets of Fire boldly rejects conventional genre boundaries, merging action, rock opera, MTV video, and neo-noir into an audacious and stylized urban myth that resonates globally.

With rumored horror movies never made, and unrevealed scenes left on the cutting room floor, the unknown breeds speculation, and that speculation becomes its own horror subgenre.

The Stop-motion dystopia in Jiří Barta’s The Pied Piper combines the horrors of The Cabinet of Dr. Caligari with Metropolis, as filtered through medieval carving techniques.

The Red Westerns made in the socialist countries of Eastern Europe appropriated the tropes of the Western to critique America’s mythologies while advancing their own.

Did Weimar cinema predict Germany’s yearning for a strong leader? Or was it largely the escapist nonsense everyone else was making?

Cruising, once denounced as homophobic pulp, is now being reassessed as a daring exploration of performance, identity, and the psychic costs of repression.

Erich Von Stroheim’s films fetishised a scandalous poke to the public’s eye, whereas Cecile B. DeMille’s films obsessed over middle-class verities.

Screenwriter Joe Orton’s specialty was throwing in queer and polymorphous sexuality during a period when English laws were loosening but homosexuals were still being arrested.

Cowboy hero Tom Tyler rides a horse, swings a fist, and saves a ranch in restored silent westerns The Law of the Plains and The Man from Nevada.

Michael Mann’s The Jericho Mile attempted to “artistically, realistically and philosophically” portray life in Folsom Prison but the prisoners were his toughest critics.