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Title: Philosophy in Film - A Philosophical Approach to Cinema
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Most horror films give fear a recognizable shape. The killer wants revenge. The ghost remains attached to a particular place. The demon can be named, understood, and perhaps expelled. Cosmic horror removes those consolations. Its threats may have no interest in humanity at all.
The best cosmic horror films expose a universe that was never organized around human need...
There is something deeply unpleasant about watching an inanimate “object” suddenly appearing in a different spot. Oddity works with this kind of fear. Its best scares don’t depend on elaborate mythology or constant movement. They come from the suspicion that a room has changed while our attention was elsewhere.
Writer-director Damian McCarthy builds much of...
There is a compelling idea at the center of Alexandre Aja’s Never Let Go (2024): abuse reproduces itself. Trauma doesn’t remain sealed inside the person who first experiences it. It reaches outward, enters relationships, and teaches other people to live according to the same fear. In this film, that process becomes a literal monster. The Evil can possess anyone it to...
Donnie Darko (2001) ends by killing the young man it has spent most of its running time keeping alive. A jet engine falls into Donnie’s bedroom, apparently restoring the world after twenty-eight days of increasing disorder. The return to this moment makes his death seem necessary. It does not, however, establish that he freely chooses it. Richard Kelly places a famil...
This essay contains major spoilers.
In Concrete Utopia, an earthquake destroys Seoul but leaves one piece of the old world remarkably intact: a property boundary.
The residents of Hwang Gung Apartments have no electricity, running water, reliable communication, or functioning government. Nevertheless, everyone still understands the differ...