July 28, 2021

The conservative terror of 2021

The pandemic has installed a return to a classic terror that seeks to leverage itself on the safe ground of franchises and series, the misnamed “content” that tends to homogenize the offer.

Three of the sensation films of the season have been titles derived from sagas established in the last years of the millennium, such as The Conjuring 3: The Devil Made Me Do It, A Quiet Place 2 Y Spiral, based on the “book” of Saw.

If we talk about expressive originality or disruption, the most challenging and innovative that the genre has proposed comes from the Apple platform with the title of Calls, a science fiction radio soap opera that is inspired by the impact of the broadcast of War of the Worlds by Orson Welles, according to the digital and fractal filter of the Hispanic director Fede Álvarez, the same as the remakes of It Y Evil Dead, an expert in the art of squeezing budgets to shake the viewer saturated with hackneyed images of torture porn, of the sensationalism of social networks.

The filmmaker’s work is a declaration of principles in that he dispenses with filming and staging, by narrating exclusively with sound environments and voices that interpret a script of homemade paranormal events.

Just grab a bundle of abstract graphic designs that accompany a story-like Our Unusual Universe, with a narrative less engoled than articulated in a hyper-realistic way by Hollwyood stars.

In this regard, Argentine colleague Diego Lerer affirms: “A cast of very good actors put their dramatic quota on the matter from the voice, from Pedro Pascal to Rosario Dawson through Nick Jonas, Aubrey Plaza, Lily Collins, Aaron Taylor-Johnson or Judy Greer, among others. We never see their faces, so all the drama, suspense and tension exists from their tense communications. “

The concept could enliven a podcast or creative show on a local station.

Cinema, therefore, is open to formal experimentation in the era of vaccination plans and austerity after the arrival of the coronavirus, as a matter of industrial survival.

The Conjuring 3 Y A Quiet Place 2 They have landed on the national billboard, outlining the Mecca plan to overcome the pitfalls of quarantine, where phobias and paranoias of all kinds were stimulated.

Therefore, as in the time of the stock market crash and the fall of the two towers, the COVID-19 has given an injection of steroids to the trend of fright and jump, currently dominated by the effect of “jump scare“And the social contract of returning to a time of nostalgia, moral rearmament and of”new deal”Headed by the good-natured Joe Biden, a kind of Franklin D. Roosevelt who wants to go down in history, executing an aggressive intervention policy that stops the Great Depression of the century, offering free vaccinations and various controversial regulations.

Regardless of the ideological and populist issue, The Conjuring 3 raises a review of the commercial aesthetics of the first Exorcist, plagiarizing his best shots, crash montages, and aberrant angles.

The production achieves a certain efficiency and solvency, to keep us glued to the armchair.

While obviously a part of our unconscious enjoys and takes pleasure in recycling, another section of our mind anticipates a predictable and restorative outcome.

The metaphorical humanity of the lead couple vindicates the exercise of telling an unpublished chapter of the Warren files.

Perhaps one of its most attractive episodes for the tabloid press, which the film considers legitimate in its process of sanctifying the characters, when the scientific community refutes and questions its methods.

But the movie takes their side and justifies them, getting us to empathize with their crusade against the ultimate evil.

So it is, after all, a binary, Manichean story, like his own. A Quiet Place 2 who does not beat around the bush when it comes to annihilating the dreaded invasion of mutants, that if they listen to you, they will kill you.

A complexity has been lost along the way, the ability to understand the monster that was a point of honor of fantastic cinema, since before Guillermo del Toro with The Shape of Water.

Able people prefer to do catharsis with the destruction of viral influences, without so much reasoning involved, because their life depends on it.

I have enjoyed it in the room, I am not lying, but I miss the nuances that gave greatness to the terror of the past.

The present one is more of a video game with the polarizing philosophy of a southern white provincial.

Are the horror films of the year a representation of xenophobia, fear of contagion and contact with otherness, with difference?

The answer is up to you.

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