I was just saying to a friend recently that I hadn't had a movie fully knock me on my ass this year. There are plenty of great movies, but none had given me that visceral reaction I love. And Uncut Gems did that. I was clawing at my own face.
JS: It's that adrenaline. It's like a drug for people. I didn't really see that potentiality at all until the trailer dropped. I'd never been a part of something like that before, but when the trailer dropped it was this thing. I was getting hit up from people who I tangentially knew, like, 12 years ago. "Hey man, remember me? I just saw your trailer, it was on Sports Illustrated." There are just so many entities in this movie that it's reaching all these different people. We spent 10 years working on this thing, so we better have had time to think about everything, you know what I mean? If we didn't, then we're not doing it a service. It makes me feel bad that the next film we're not gonna have 10 years to work on. We're almost actually conceiving of projects that we're looking at long term, and we're doing these smaller projects in the short-term leading up to it. We're trying to decide what is the next long term project, what is the next "north star"? Because these north star projects, they take time to build, they take time to coalesce.
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I love this because there are times when I feel overwhelmed and I'll just stop and touch the wall, or a table, and I think about how we're not really touching anything because it's all just atoms on atoms...
It was gory beyond anything I had seen before, had fascinating sexual undercurrents and it simply kicked ass and blew my mind. It kick-started my love of extreme horror and it forced me to look at grotesque, gory scenes and find the beauty and skill within the bloodied frame.
Learn from it, and put stuff like that in your stories. If your word count is a little light, think about what adding a mini hurdle would do for you. This was simply the start of the play. The curtain could have gone up without it; there was enough tension already. One more piece was a masterful addition.
In Chopping Mall, technology designed to protect commodities turns deadly for humans. Both films revel in unfettered access to all the goods global capitalism made available to Americans. And both reveal the mall to be a space where humanity comes in second to capital.
High Tension (French: Haute tension, .mw-parser-output .IPA-label-small{font-size:85%}.mw-parser-output .references .IPA-label-small,.mw-parser-output .infobox .IPA-label-small,.mw-parser-output .navbox .IPA-label-small{font-size:100%}French pronunciation: [ot tsj]; also known as Switchblade Romance in some international countries) is a 2003 French slasher film[4] directed by Alexandre Aja, co-written with Grgory Levasseur, and starring Ccile de France and Mawenn. The plot focuses on two female students who drive to one of their family's secluded farmhouse to study for their exams, where a murderer shows up on the night of their arrival.
When the killer stops at a gas station, Marie gives Alex the knife and sneaks into the gas station shop for help. When the killer comes into the shop, Marie hides and she witnesses the store clerk Jimmy being murdered with an axe. The killer returns to the truck and Marie calls the police but hangs up in frustration when she's unable to tell them where she is. She takes the clerk's keys and uses his car to follow the killer down a deserted road. The killer notices Marie following him, and rams Marie's vehicle, pushing the car off the road where it wrecks. Exiting on foot, badly injured, Marie runs into the forest as the killer seeks her. Eventually, Marie bludgeons the killer with a fence post covered in barbed wire. As Marie inspects the body, he grabs at her throat, so Marie suffocates him with a plastic sheet and makes her way back to the truck. Alex seems terrified of Marie as she returns to the vehicle. As police investigate the gas station murders via the in-store videotape, the tape shows Marie murdering the store clerk. In retrospect, it is revealed that Marie is murderous, delusional, and in love with Alex and the real killer of Alex's family.
At the truck, Marie unties Alex. As soon as Alex is free, she threatens Marie with the knife and accuses her of butchering her family. Alex slashes Marie's face and stabs her in the stomach before running into the forest. Marie chases Alex with a concrete saw. Alex finds a road and flags down a car. As Alex is climbing into the car, Marie appears brandishing the concrete saw and disembowels the driver. A stray piece of glass slices Alex's Achilles tendon. Alex takes a crowbar from the car's toolbox and crawls along the road. Marie forces Alex to tell her that she loves her, and she kisses her. While engaged in the kiss, Alex plunges the crowbar into Marie's upper-chest as Marie proclaims she'll never let anyone come between them.
The film was shown at the 2003 Toronto International Film Festival during the Midnight Madness section.[9] After screening at the festival, the film was purchased by Lionsgate Films for North American distribution.[9] In her book Films of the New French Extremity, Alexandra West described The screening of High Tension at Midnight Madness made that section of the film festival an "unintentional bastion for New French Extremity", which still did not have a popular following. Following High Tensions's release there, other films followed at the festival such as Calvaire (2004), Sheitan (2006) and Frontier(s) and Inside (2007) and Martyrs (2008).[9]
In the United States, Lionsgate released an English-dubbed version of the film in 1323 theaters on 10 June 2005 (with $14 million marketing cost).[6] Several murders scenes were truncated in order to avoid an NC-17 rating.[10] A re-cut theatrical trailer was released by Lionsgate to promote the film, featuring "Superstar" by Sonic Youth.[11]
Some scenes were edited for the American version to achieve an R rating by the MPAA. About one minute of the film was cut in order to avoid the NC-17 rating.[12][5] The R-rated edition was released in American cinemas, in a less widely circulated fullscreen DVD, and on the streaming service Tubi. This section notes what was deleted from the unrated, original French film to produce the American version.
American film critic Roger Ebert awarded the film only one star, opening his review, "The philosopher Thomas Hobbes tells us life can be 'poor, nasty, brutish and short.' So is this movie." He added that the film had a plot hole "that is not only large enough to drive a truck through, but in fact does have a truck driven right through it."[16]
Lisa Nesselson of Variety was more forgiving, saying that the film "deftly juggles gore and suspense", has "unnerving sound design", and "has a sinister, haemoglobin look that fits the story like a glove".[17] James Berardinelli praised the film, writing: "The film revels in blood and gore, but this is not just a run-of-the-mill splatter film. There's a lot of intelligence in both the script and in Alexandre Aja's direction ... For those who enjoy horror films and don't mind copious quantities of red-dyed fluids, this one is not to be missed. It's a triumph of the Grand Guignol."[10] The Village Voice's Mark Holcomb wrote that the film resembles "a pastiche of '70s American slasher flicks that seemingly stands to add to the worldwide glut of irono-nostalgic sequels, remakes, and retreads," ultimately seeing it a "gratifyingly gory, doggedly intellectual decon of the likes of The Texas Chainsaw Massacre, Halloween and (surprisingly but aptly) Duel."[18]
Waitress is brilliant, and brilliantly scored. I loved the movie when I saw it a decade ago and was so excited to see that not only was there a musical written on the fantastic premise of a lonely, knocked-up Southern diner waitress married to a piece of shit manchild and in lust with her obstetrician, it was written by the talented Sara Bareilles. I missed its run in DC and then lots of life happened and because Gretchen Rubin inspired me to seek out things that bring me joy in 2019, I reached out to a friend and we made this moment happen. And it was fucking magical.
Building tension in your thriller or drama story can be difficult at times. There really is an art to creating the tension that audiences love and that will separate your script from the pack. Here I will cover three key elements to creating tension in your screenplay story.
First, the Time element. By creating a ticking clock element to your story where the protagonist must accomplish something before time runs out really amps up the drama and action, hence creating tension. You can also speed up or slow down an event or events to emphasis or bring about tension and drama.
My friend Aimee told me about accidentally seeing\u00a0High Tension\u00a0on a date when it was first released in the states. She told me about the twist at the end and described it as \u201cthe most violent movie ever,\u201d and that was enough for me.I knew I needed to see it.\r\nBut I wasn\u2019t ready. Before I started to seriously get into slashers a few years ago, I was deathly afraid of them. As a kid, merely hearing the plot of a scary movie was enough to keep me up at night. I was scared of everything as a kid: Choking. Olde-timey cartoons of the devil. Campfire stories. People in general.\r\nAnd then, somewhere along the line, I stopped being scared of death and started becoming scared of myself.\r\n\r\nHigh Tension\u00a0is the kind of movie you instantly understand if you understand horror. It\u2019s pure 80s pastiche with a touch of Hitchcock appreciation, which makes it a de facto Brian DePalma film. But it\u2019s a bit slower and subtler than that, even though it isn\u2019t subtle at all.\r\nWe meet best friends Marie (a young Cecile de France) and Alex (Ma\u00efwenn) driving back from the airport. Marie is coming to meet her friend\u2019s family for the first time, somewhere in Southern France. They look very happy together and very gay.\r\n\r\nAs they get deeper into the countryside, the mood changes. Alex\u2019s family lives in a gigantic, rotting house smack in the middle of nowhere, surrounded by endless cornfields, so they\u2019re basically asking to get murdered by a serial killer. Which is precisely what happens. Marie meets the family and settles in for a quick masturbation session in the guest room while everyone else goes to sleep. There\u2019s a knock on the door, and the father answers it. It\u2019s a random trucker, who stabs the father and then decapitates him. The entire family suffers the same fate, with the exception of Alex, who is taken hostage in the truck. And Marie, who has managed to escape the killer\u2019s notice. She stows away in the truck, determined to free her friend.\r\n\r\n\r\nShe does, and she doesn\u2019t. What happens\u2014and yes, this is spoiler territory for those who care\u2014is that Marie follows the killer unnoticed, until the two come to a bloody standoff in the woods. Marie finally manages to bash him in the head with a makeshift barbed-wire club and heads to free Alex. But Alex is horrified, even as Marie reassures her that \u201cthe man is dead.\u201d\r\n\u201cWhat man?\u201d Alex\u2019s terrified eyes seem to say. She\u2019s still terrified, because Marie is actually the killer. That middle-aged trucker? A projection, it would seem, of Marie\u2019s disjointed, homosexual imagination.\r\n\r\nThis is a tricky twist for a few reasons. The first is that in terms of film, it\u2019s a hard trick to pull off. Today, we\u2019re kind of used to this trope: the killer has been you all along, or you\u2019ve been dead all along, or some\u00a0Sixth Sense\u00a0bullshit like that. Here, it\u2019s a little harder to do convincingly. We\u2019re invited to figure this out when a homicide detective turns up at the gas station where the trucker\u2014both girls in tow\u2014stopped to get gas earlier. We saw the trucker kill the attendant brutally and then drive off as Marie hid in the men\u2019s room. On the CCTV footage, we see how it really happened. It was Marie herself who killed him, looking straight into the camera as she did it, with a kind of lustful excitement.\r\n\r\nOnce we\u2019re keyed into this information, the film invites us to marry the two characters as one, and it\u2019s not an easy thing to do. In horror movies, the mysterious, middle-aged male serial killer comes with well-established semiotics. It\u2019s easy to accept the premise that a man\u2014especially a large, middle-aged, lonely one\u2014would be a brutal killer of women. But a young woman is coded differently. In almost every single horror film ever made, young women are victims, and older men are violent psychopaths. There is a truth and a real-world logic to this. We know that men kill, and that women, statistically speaking, don\u2019t do it on the same scale or for the same reasons. Sure, you can list off female serial killers from the Countess of Bathory to Aileen Wuornos, but even within those isolated instances you\u2019ll find that the impetus for those crimes came out of something different. For\u00a0some female killers, killing simply provided access to the male world of power. But very few women are specifically\u00a0sexually\u00a0motivated to kill other women. This is a Hollywood invention*.\r\nWhich makes it doubly weird when Marie\u2014with the camera switching back and forth between visualizing the killer as herself and as this gigantic, bloody Frenchman\u2014chases Alex with a chainsaw through the forest. \u201cYou could drive a woman crazy,\u201d she tells her. But we see a man saying the words.\r\n\r\n\r\nWhich is why it\u2019s a little weird, and kind of fucked-up, for the film to frame the story this way.\r\nFucked up, but not surprising. The early 2000s were a very weird time to grow up gay in. Sure, we had \u201cQueer as Folk,\u201d \u201cThe L Word,\u201d and the gay cinema of the 90s. But that was about all we had. Primetime TV was still full of lazy, homophobic jokes and a complete lack of believable queer characters. If you were anything but 100% gay or lesbian, you were simply not part of the equation. And most movies and TV shows still couldn\u2019t resist the urge to throw in a fun \u201cman in a dress\u201d joke or two. The world as I remember it from 2000 to 2010 was an extremely homophobic one, in the truest sense of the word. Phobia as in fear\u2014deep and primal.\r\n\r\nIn America, we talk about homophobia now mostly in terms of intolerance. But in the years before Prop 8, when even the most mainstreamed white gays felt the need to fight for their rights, there was an atmosphere of actual\u00a0fear\u00a0concerning queer life. People were afraid of what would happen once gay people got rights. Remember those arguments about how gay marriage would usher in a new era of people marrying dogs and cars? Remember those anti-gay adoption ads that showed the burly silhouettes of two men grabbing a small child by the hand as if preparing to lead him into a sex dungeon? It was as if gayness\u00a0itself\u00a0was enough to make people completely lose sight of what they believed to be the moral edges of the universe. The fear of gay marriage seems absurd today, but I remember how scared of it people were then. They weren\u2019t just scared of us changing certain institutions: they were scared of\u00a0us. As\u00a0people.\r\n\r\nSo they made us villains. Brian DePalma ushered in a new era of trans-sploitation with\u00a0Raising Cain\u00a0and\u00a0Dressed to Kill. Paul Verhoeven gave us\u00a0Basic Instinct, the classic tale of a murderous bisexual who supposedly keeps killing her male exes despite weight 90 pounds soaking wet, and using that most ridiculous of murder weapons, an icepick. These films were campy and silly, but they also carried a very clear message: \u201cwe\u2019re scared of you. You\u2019re unpredictable.\u201d Gay people were, at that point, not yet neutered by capitalism. We didn\u2019t have \u201cGlee\u201d or \u201cKinky Boots\u201d on Broadway. Before gay people were packaged as safe, entertaining, and harmless, we kept straight America up at night. Because we scared them.\r\n\r\nBut is a movie like\u00a0High Tension\u00a0actually homophobic? That seems too simple a designation. You could look at the final twist at the end and read it as more transphobic than lesbophobic. But the fact that Marie justifies her murder spree by saying that she loves her friend and wants nothing to keep them apart points to a much more common narrative of the early aughts: Lesbians\u00a0love too much. It makes them crazy, and then they kill people.\u00a0Monster, the Aileen Wuornos biopic, came out the same year. So did\u00a0Party Monster, which told the story of the queer \u201cclub kid killer\u201d Michael Alig. A year later, the play \u201cDoubt\u201d opened off-Broadway, and \u201cThe History Boys\u201d opened its West End run. Gay people were either killers, or pedophiles, or victims. All three? Maybe. But you couldn\u2019t be anything else.\r\n\r\nI was in high school and college during those years, and it was, for the most part, a relentlessly depressing decade. But more than anything, I was scared. I couldn\u2019t stop thinking about all the ways there were to die. I felt like someone was always waiting behind some corner to kill me. When I would go home to visit my family, the quiet of the night would freak me out. My family would be talking and laughing at dinner, and I would feel a pricking at the back of my neck and turn around, expecting to see a cloaked figure armed with an AK-47 outside the window, ready to pick all of us off. I would sit in the corner of a room because that was the only place where I could see everything happening at once\u2014and even then, I feared the wall behind me opening up to swallow me. Because nowhere was safe. And if I saw a movie that was even a\u00a0little\u00a0bit scary, it was enough to send me into a panic-induced fever for weeks at a time.\r\nI spent years of my life just being scared, from morning until night.\r\n\r\nIt\u2019s no coincidence, I don\u2019t think, that after I came out as trans, I stopped being scared. I didn\u2019t have those invasive, bloody thoughts anymore. I started to able to watch horror movies with some regularity: the more gruesome, the better. Because they\u2019d lost their power, somehow. Suddenly every scary movie wasn\u2019t a window into my future\u2014it was just a movie. I\u2019d never understood how people could say that before: \u201cIt\u2019s just a movie.\u201d And then, all of a sudden, I got it.\r\n\r\nAt some point, I\u2019d stopped being scared of the eventuality of death, however gruesome, and started just being sad about it.\r\nThat\u2019s the thing I feel the most now when I watch a horror movie. It\u2019s not scary or gross or viscerally shocking, it\u2019s just sad, because a lot of people die. When people die now, I get sad, not scared. Fear is just one way to think about death: sadness is another. And part of growing up into an adult means you stop being scared of the hypotheticals, like being killed by an ax murderer, and start fearing the things you know will come to pass. The deaths of your friends and family, and eventually, yourself.\r\n\r\nBut the thing I fear now, more than anything,\u00a0is\u00a0myself. I\u2019m not scared of a psychopath breaking into my apartment at night. I\u2019m scared of waking up someday and realizing that I\u2019m a monster. Either because I haven\u2019t stayed true to the things that are important, or because I didn\u2019t do right by a friend, or because I let myself, in some way, be hypocritical. I\u2019m scared of having whatever happens to people like Jeffrey Epstein and Scott Rudin happen to me. Because that\u2019s the only response I can have. It\u2019s the type of evil so baffling that the only response is: \u201cgiven that kind of power, everyone probably has the potential to be evil. Including me.\u201d\r\n\r\nThat\u2019s the thing that gives a complex edge to this weird, lightly problematic movie. The idea that a woman would act like a predatory man in trying to secure the love she wants. The idea that a woman\u00a0could\u00a0be that violent and that bloody and that insane. It doesn\u2019t make sense, but technically, it could. Anything could. And if you watch movies that paint you as a monster for long enough, chances are you\u2019ll start believing it\u2019s true.\r\n\r\n\r\n","thumbnailUrl":"https:\/\/into-prodweb.s3.amazonaws.com\/uploads\/2021\/06\/Screen-Shot-2021-05-20-at-4.44.16-PM.png","image":{"@type":"ImageObject","url":"https:\/\/into-prodweb.s3.amazonaws.com\/uploads\/2021\/06\/Screen-Shot-2021-05-20-at-4.44.16-PM.png","height":1024,"width":434},"creator":"Henry Giardina","author":{"@type":"Person","name":"Henry Giardina","url":"https:\/\/www.intomore.com\/author\/henry-giardina-2\/"},"keywords":["Film",null,"post","Editor's Pick","Homepage Featured Section","Queer History","Queer Horror","[ Has: < 3 Ads ]","[ Word count: 1000+ ]","[ Ad friendly ]","[ NSFB Death Injury ]","[ NSFB COVID ]","[ NSFB Adult Sex ]","[ NSFB Violence ]","[ NSFB ]","[ NSFB 5+ ]"],"publisher":{"@type":"NewsMediaOrganization","name":"INTO","url":"https:\/\/www.intomore.com\/","logo":{"@type":"ImageObject","url":"https:\/\/www.intomore.com\/assets\/logos\/logo-black.png","height":"188","width":"102"},"address":{"@type":"PostalAddress","streetAddress":"584 Castro St. #623","addressLocality":"San Francisco","addressRegion":"CA","postalCode":"94114","addressCountry":"USA"},"sameAs":["https:\/\/www.facebook.com\/INTO","https:\/\/www.twitter.com\/into_tweets","https:\/\/www.instagram.com\/INTOmore"]}} Help make sure LGBTQ+ stories are being told...We can't rely on mainstream media to tell our stories. 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