Terror trains us to face loss. There is only a fine line between tragedy and comedy, and horror crosses this line by choosing from each and letting us scream, cry, scream, laugh, or otherwise release our emotions. Don’t open that door! Don’t go down the stairs! Don’t wander in the night! Don’t summon ghosts or demons! We collectively respond to horror films because of the enthusiasm of this cathartic distribution, and because this genre lets us know what will happen within the scope of its format. Something that is coming or someone will take away what we have and force us to think about what is left-and what is left of us.
The American format for them is an integral part of almost every horror villain: serial killers, zombies, ghosts, demons, monsters, and what happens at night. For a long time, the elderly have also been part of “them”.
Many filmmakers use older people as villains or jumping panic providers: Rosemary baby, Mulholland Road, access, The insidious franchise. In many of these movies, the elderly have their own agenda: usually control and fear. (Even hunger, as in the Tromar movie in 1988 Crazy grandma, One of the grandmothers eats its greedy relatives. Understandable! )
Cynthia J. Miller and A. Bowdoin Van Riper wrote in the book Ancient Horror: Essay on Frightening Images of Ageing in Movies The horror genre presents a “dark version of familiar metaphors about older people: their knowledge and experience extend to areas that young people don’t know.” This analysis applies to many movies with psychological, surreal, and even comedic horror elements. .To the neighbor of Rosemary (Mia Farrow) Rosemary baby, Who helped her drug her, raped her, brainwashed her, and forced her to give birth to a devilish baby.To the older traveling companion Betty (Naomi Watts) in Mulholland Road, She assured her that she was capable of succeeding in Los Angeles-then she shrank under her door, sneaked into her apartment, and threatened her at night. To the old souls in the Insidious franchise, including the bride in black and the woman in white, who try to catch tourists from afar and return to the physical world to make them live again.And the mental patients who ran away access, They took advantage of the implicit trust in grandparents. (The film’s discovery lens style “made a significant contribution to the realism surrounding the fear and uncertainty of grandparents’ aging process,” Stephanie M. Flint wrote in her book. Elder horror Thesis “The Limitations of’Sunset’: M. Night Shyamalan’s access And fear of aging bodies. “)
With the analogy of “the old man is terrible”, in recent years, many movies have adjusted it, suggesting process Getting old is itself a physical horror.exist remains, old, Bingo Hell, with manor, The fear of losing body autonomy due to memory loss, disease, and decay is magnified to disturbing extremes. The recognizability of this transition is the key to our fear and the key to the lingering interference that these movies leave us.
In Natalie Erica James’s remains, Kay (Emily Mortimer) and her daughter Sam (Bella Heathcote) move in with their mother/grandmother Edna (Robby Nevin). The intergenerational relationship is worrying, and the fear is as heavy as the black mold growing in Edna’s house and on her body. As the black mold spread, she became more and more confused and violent: sleepwalking, wandering, and accused Sam of stealing. Is the house responsible for Edna’s increasingly damaged body, or is it the natural influence of her loneliness? no matter which way, remains It is emphasized that aging is irreversible, and the breakdown of a person’s body is a toxic process that spreads outward and affects our offspring.
old, Adapted from a graphic novel Sandcastle Authors: Pierre Oscar Levy and Frederik Peeters — and Shyamalan in access -A similar point of view has been raised regarding aging that not only affects individuals, but also affects their loved ones and those who love them. In this thriller, three groups spent a (literally) life-changing day together on a tropical beach. Without their knowledge, for every 30 minutes they spent there, they would go to a place where they were a year old, which meant that no matter what underlying medical conditions they had, they became very obvious.Everyone’s body is in old Betrayed them through schizophrenia, epilepsy, hypocalcemia and hemophilia. But the most tragic thing is the fate of these characters. They came to the beach from childhood, and then quickly grew into teenagers who had to face death. They went from 6 to 11 to 15 years old, making them almost unrecognizable by relatives, relatives and friends. Over time, they lost opportunities. “There are too many memories that we don’t have. It’s not fair,” said 15-year-old Kara (Eliza Scanlon), taking into account old During the COVID-19 pandemic, this line has broad relevance.
Don’t be left out, modern horror master Blumhouse Productions captured this theme with two movies through their collaboration with Prime Video’s “Welcome to Blumhouse”: Bingo Hell with manorBoth are concerned about the isolation that can be brought about by aging: Will your family come to visit? Will they continue to participate in your life? Or will they forget you?
Bingo Hell Set these contemplations in a rapidly gentrifying community, where children and grandchildren will not swing back and forth as often as they should. Once the local bingo hall was bought by the new owner Mr. Big (Richard Blake), the elderly in the community were confused by the cash rewards he promised-until the long-term resident Lupita (Adriana Blake) Raza) He seems to realize that Mr. Big may not be as generous as he is. manor Similar information about despair and physical injury was explored. This feeling was brought about by the feeling that the second chance was about to run out. After a stroke, Judith Albright (Barbara Hirsch) was admitted to a nursing home, which shocked her beloved grandson Josh (Nicholas Alexander) because he could not see his grandmother So old. However, once Judith settled in the facility, she was upset that the staff did not listen to residents’ complaints about seeing strange things, such as monsters made of tree bark and teenagers running around the venue at night. Judith’s hard fight is a disrespectful comment on our treatment of the most vulnerable people, and the frustration Hershey captured by Judith’s brain/body disconnect reminds us that we will eventually feel that way too.
These characters are grotesque versions of “respect for the elderly,” but they have another purpose. Based on your belief in supernatural phenomena, it is hard to imagine being possessed or craving for blood one day when you wake up. But waking up every day is normal, natural and permanent. The old man in fear will one day become us, and the aging process is a fear that we cannot escape if we want to live. Especially during the COVID-19 period, staying safe means staying indoors as much as possible. Our inability to move straight forward in time is itself a kind of fear.
remains Available through Showtime. old Can be used for digital lease and purchase. Bingo Hell with manor Streaming on Prime Video.