Untouchable (2019): directed by Ursula Macfarlane: Harrowing, revelatory documentary on disgraced Hollywood powerhouse Harvey Weinstein's decades of predatory behaviour before revelations started to come out in articles in the New York Times and the New Yorker.
Weinstein's alleged behaviour included alleged rapes, sexual assaults, and various forms of 'retribution' aimed at any and all whom he viewed as having offended him or denied him in any way. Employees, victims, and journalists testify to Weinstein's malevolence and his power in the film industry and the larger culture.
Untouchable actually made me think of a book on the Manson murders I'm reading right now in which the author notes that the standard construction of the Manson murders as having marked the end of Hollywood's "innocence" is complete crap: Hollywood isn't, wasn't, and never was "innocent." The list of Weinstein's enablers is a Who's Who of Hollywood Elite. Hey, Roman Polanski just won a major award at Cannes! Maybe it's not Hollywood. Maybe it's just everything. Highly recommended.
It Follows (2015): written and directed by David Robert Mitchell; starring Maika Monroe (Jay), Lili Sepe (Kelly), Keir Gilchrist (Paul), Olivia Luccardi (Yara), Jake Weary (Hugh/ Jeff), and Daniel Zovatto (Greg) (2015): It Follows is a terrific horror movie with surprising depth, especially for a film written and directed by a newcomer, David Robert Mitchell. It knows when to be subtle. It knows when to be gross. And it knows the iconic, John-Carpenter-related value of a synth-heavy score.
The film takes a horror-movie staple -- the apparent violent punishment of teenagers in slasher movies for having sex -- and makes it the central conceit. Have sex with the wrong person and something terrible will follow you and try to kill you. Escape death by sleeping with someone else and 'passing it on.' Return to a state of danger if the person you 'infected' dies before passing it on. Really, it's a lot like sex in the 1980's.
But the movie works because of its pacing, the fine performances by the young and unknown cast, and some of the finest 'sudden-shock' moments I've got from a horror movie in a long time. The movie looks great as well. It juxtaposes its locations in ways which open up further discussion about just what the movie may be about under the surface: suburbia and the beach play off against deserted, ruined areas in and around Detroit.
There are other things that enrich the subtextual eddies of the film: the voyeurism of our female protagonist's pre-pubescent male neighbour; a visual reference to self-cutting that ties into the protagonist's problems with body image and possible depression; the almost complete absence of parents except as represented visually by the It of the title.
Ah, It. The film gives us a Something while wisely withholding exposition from anyone with authoritative knowledge of what that Something is or does. Everything we learn of It comes from the observations of people whom it follows. It appears to be slow. Is it really? Or is it playing with its victims? It can appear as almost anything human (we think!). Some of the forms it chooses horrify those it pursues because they're the forms of loved ones. But sometimes its appearances are less personal, though sometimes even more horrifying. Is it a ghost? Is it a monster?
One of the fascinating things about the movie is how its protagonists, stuck between high school and college on one hand and adulthood on the other, almost exclusively talk only of the past. "Remember when..." is a constant refrain. Draw your own conclusions as to what this motif means in the broader context of the movie.
This may be a fairly serious, often melancholy horror movie, but it deploys that melancholy with wit and verve, with surprising moments of comedy and empathy. It also stands up to rewatching. I've now seen it five times and found new things to think about with each viewing. Highly recommended.
