The clone is a kind of mirror.Literally, this certainly makes sense: German compound words, first published in Novels of 1796, Which combines the two words “double” and “walker”, implying that someone repeats it everywhere in the world. But visually speaking, just like a mirror has the ability to reflect and distort, so does the clone-he is neither a twin nor a clone. The existence of a person who looks like you but who is not you has an impact on a deeper, more visceral level, and this concept has frightened people for centuries.The first is a literary method, such as Dostoyevsky’s pair With Robert Louis Stevenson The strange case of Dr. Jekyll and Mr. Hyde -And because it jumped to the screen as a common horror metaphor.
As a figure of myth and folklore, the clone has been floating in our nightmare for some time, and its prevalence has raised questions about ourselves. If a person we don’t know but who has our face is still alive while we are alive, are we really unique, singular, or autonomous? In theory, our personal identity is the only thing we really have; we are born with them, and we die with them. However, the existence of another person with the same physical characteristics is– As Sigmund Freud described In his 1919 article that shocked the culture-“Unbelievable.” Is dual personality a manifestation of our suppressed fear? Is this a way for us to deceive death?Or actually a clone accomplish Does our death imply that a part of our control will continue to exist after we leave?
Horror likes Freud’s latter suggestion, and this type is particularly creative in the imagination of the avatar.As film critic and scholar Steven Schneider wrote in his 2001 Film and Philosophy The article “The performance of literary doubles in modern horror movies”, this genre not only invented physical copies (“cruel another self, terrible shapeshifter, crazy twins or malicious clones”), but also invented Schneider’s return The “mental stand-in” of the class serves as “schizophrenia, transfiguration, projection, and psychosis”.Regardless of whether the clone is an imitation of the body or the brain, there is nothing like knowing and do not know Your own.
All of this is to say that in horror-which usually puts the individual against an unknowable, mysterious, supernatural or otherworldly entity-the clone is unique because it makes our enemy a version of ourselves . With this metaphor established at the beginning of the 20th century, horror films freely overlap with other types of horror films, and these genres base their clones on established realism, resulting in films that also look inward and focus outward.
Original version by Walter Wanger (1956) Invasion of Body Snatchers Steven Spielberg’s 1978 remake combines horror and science fiction to create “The Pod Man”-no emotions, emptiness, and looks exactly like us.All three versions matter (Original in 1951 Something in another world, John Carpenter’s 1982 classic of practical effects, and a not-so-different prequel in 2011) presents an alien entity that can imitate, mutate and use our physiological functions in a purely utilitarian and completely non-sentimental way .The Davids (Cronenberg and Lynch) added disturbing surrealist films to this sub-genre, such as nest, Lost road, with Mulholland Road, It reiterated Freud’s theory of how emotional destruction and trauma can be the key to the incredible.Recently, Natalie Portman (Natalie Portman) in Black Swan with Annihilate, And Jordan Peele Stephenford’s wives In his first directing job go out) Once again disrupted the pleasant community, his killing joy Tethered in US.
What it means to be human, and how we know if someone is or not, has become a common question for many of these hybrid products—perhaps no movie is so ruthlessly rude in exploring this concept. have. Andrzej Żuławski’s 1981 film was initially criticized and then admired. It has now been restored in 4K and re-released nationwide. It is both uncomfortable and exciting.
Watch have It feels like a couple sitting next to the restaurant fighting and trying not to eavesdrop because they accuse each other loudly on the appetizer, smoke silently in the main course, cry and apologize to each other while sharing dessert, and finally Leave separately, and maybe return to different lovers after the ordeal is over. At first glance, this does not look like horror, but Żuławski is a master of tension and gradually introduces details to form a grander and more painful whole.turn out have It has both incredible performance and disturbing intimacy. Its horror comes not only from a character named The Creature, but also from the realization that sometimes your favorite person in the world may not care about you at all.
The duality of cruelty and fragility runs through every frame haveWritten by Żuławski and Frederic Tuten, the former is divorcing actress Malgorzata Braunek. (She starred in his previous movies, other horror movies The third part of the night with demon. ) exist have, Married couple Mark (Sam Neal) and Anna (Isabelle Adjani) live in the same apartment in West Berlin, but they are no longer their former love pair. “Maybe all couples will experience this,” she wondered when they lay in bed together, but the deadlock seemed insurmountable. It feels like it’s over.
Controlling and obsessive Mark, Neil’s Mark is a roaring, exaggerated energy that finally gives way to strong shock and sexy cunning, and refuses to give up the relationship. He will let Anna come back at all costs-confront her lover Heinrich (Heinz Bennant), hire a PI (Carl Doolin) to track her-but then, weird Something happened. Mark meets Helen (Ajani), the teacher of their son Bob (Michael Hoban). She looks a lot like Anna, but her eyes are turquoise. Then, something strange happened: Anna hid a secret apartment in an abandoned building in the town, and the place you were going was the kind of disappearance. Who or what will she meet there?
Thanks to a series of terrorist incidents that broke the border, from Lovecraft (the aforementioned creature) to the more disturbing world (domestic violence, self-harm, and abortion), have When it was first released in the United States, it was extensively deleted and banned in the United Kingdom. The clear visual effects and vibrant tones of this 4K restoration are a revelation. Each scene is emotionally overly tense, supplementing the film’s inexplicable extreme obsession. Adjani and Neill’s performances were exhausting physical manifestations, including the infamous subway scene, which cemented Adjani’s work here and became one of the greatest hysterical women in the history of horror films. This movie focuses on designing a clone (so many dismembered limbs!) have The treatment of this metaphor is so unique.
What about making another person, especially another person who copied others? What effect does this have on the mind and body? Is wanting to spend a lifetime with a better person you love a desire for empathy, or a desire for insanity?Since then, other movies have followed suit in the doppelganger mode have, But all of them operate under the shadow of the movie’s bleak, grim, and grotesque legacy, which shows that twins is an exploitative act, as destructive as a failed marriage. Many horror movies have explored the assault on reality provided by clones, but few do it with a lot of blood, sweat, and body fluids like unshakable disturbing people. have.
have It is being shown in theaters across the country and will be shown exclusively on Metrograph.com until October 31.