Now more than ever, a successful project of any medium hinges on its ability to market itself in an engaging way to the right audiences.
Horror is a genre literally defined by fear and discomfort. It is a common phenomenon to throw on a cartoon or something comforting after particularly harrowing films, but some are just on another level.
Paco Plaza’s 2017 horror film “Verónica” gained a lot of press when it went on Netflix a few years ago. Lots of clickbait was going around surrounding the movie, claiming it was the scariest film on Netflix.
When you Google the phrase ‘Weirdcore,’ the first thing that pops up is an entry in the Aesthetics Wiki, which is a wikipedia-like catalogue of various internet aesthetics; grunge, hyper-pop, you get the deal.
So, you want to play the newest “Resident Evil” (2021), or maybe even beat the iconic “Outlast” series, but every time you jump into them, you find yourself squirming in your seat and running to turn the lights on. Who can blame you?
Though sometimes it may feel like it, horror is not a monolith. It is an extremely versatile genre, encompassing an infinite variety of mediums. However, that is not to say it cannot get mundane.
Saint Maud follows the life of a pious and demure hospice nurse, Maud, as she takes care of Amanda Khöl, a dancer, choreographer, and “minor celebrity,” with stage four lymphoma of the spine.