After a year of critically and commercially successful scary movies, a conspicuous absence at the Academy Awards
, and even more memorably, Mark Rylance’s sublimely creepy turn as the film’s villain. Somehow Hong Chau was nominated for best supporting actress in the dreary, an entertaining if not entirely convincing horror satire about the way rich people dine.
And then, of course, there was Mia Goth, the charmingly unhinged star whose face belongs on the biggest screen possible. Goth starred in some of the year’s most attention-grabbing hits: artful slasher, both directed by Ti West and distributed by A24. Those films were received very warmly, without qualification. No “pretty good for a horror film”. Actuallygood. They played with gender roles, skewered the politics of grindhouse cinema, and provided proper scares throughout.
Goth has become a poster girl for the modern, thinking-person’s horror. Call it nominative determinism. On the press tour for, a Brandon Cronenberg-directed sci-fi horror with Alexander Skarsgård, she was asked why the Oscars hadn’t nominated any horror films this year. “I think that it’s very political,” Goth explained. “It’s not entirely based on the quality of a project per se. There’s a lot going on there, and a lot of cooks in the kitchen when it comes to nominations.
Goth’s wide-eyed gaze is suitable reaction to the genre’s shut-out at the Oscars. Horror has proven itself as both a robust and experimental genre. In fact, it’s been one of the only robust genres for movie theatres, as they continue to grapple with the consequences of the pandemic. Empty seats do not profits make. The other bankable genres? Action films and superhero franchises.
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