Modern horror unsettles us because it reflects life as it is: unresolved and unsolvable. It’s become elevated art, yes, but also art that tells the truth. What better examples of this than Ryan Coogler’s Sinners, a movie about systematic racism, intergenerational trauma, art and cultural vampirism, or Zach Cregger’s Weapons, which lays bare childhood isolation, familial trauma and grief? To be human is to wrestle with loss, to have to accept the passage of time, to know pain and grief. Horror shows us this in all its strange and terrible beauty—even when we look at scenes like the gruesome bodily fusion of two codependent partners in Together through splayed fingers.
This shift is happening everywhere. Studios and production houses like A24, Neon and Blumhouse have recognised that audiences are no longer satisfied with neat, cliché endings. In new horror movies, characters do everything right, but evil still wins. Grief doesn’t vanish, good is often compromised and nice people get hurt. Everything is not always well at the end of the movie, just as it is not in real life.
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iPhone 17 256 GB: 15.93 cm (6.3″) Display with Promotion, A19 Chip, Center Stage Front Camera for Smarter Group Selfies, Improved Scratch Resistance, All-Day Battery Life; Black
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