Matt Bettinelli-Olpin and Tyler Gillett (ABIGAIL)
As a cinephile with a heart for the macabre and a penchant for atmospheric tension, I find both scenes from Kiyoshi Kurosawa’s “KAIRO” (PULSE) and David Lynch’s “Mulholland Drive” to be masterfully terrifying.
The start of the home invasion in The Strangers (2008)
In that tense moment, it seemed like no one dared to inhale, as if holding their breath. The collective gasp echoed through the room when he suddenly appeared behind her, followed by a deafening scream as she pulled back the shades and spotted him staring back at her from the other side of the window. This scene was brilliantly crafted, with skillful handheld long shots, a chilling Joanna Newsom melody playing in the background, and Liv Tyler’s gripping portrayal. After this scene, there wasn’t a single murmur or whisper among the audience as the movie tightened its grip around our throats.
Leigh Whannell (WOLF MAN)
The blood test in The Thing (1982)
For me, the blood test sequence in John Carpenter’s “The Thing” stands out as a pinnacle of terror. The character MacReady, played by Kurt Russell, utilizes a flamethrower to heat a wire, which he then stabs into blood samples collected from each member of the research team. This test is crucial because it will expose whether they’ve been taken over by the alien entity. The tension throughout this scene is almost unbearable. As a filmmaker, I constantly strive to create suspenseful scenes that are fresh and innovative. This scene accomplishes this exceptionally well. It may be terrifying, but its distinctiveness makes it stand out. The simple act of testing each person’s blood serves as the foundation for the suspense, yet when the scene reaches its climax, I am always captivated. In a film that I believe is flawless in every aspect, this scene remains the most memorable. The first time I watched it, I could barely look at the screen…but even after multiple viewings, it still manages to maintain its impact.
Zach Cregger (BARBARIAN)
The appearance of the twins in The Shining (1980)
Everyone warns you that the first time you shoot a hard drug into your veins that the rush can be so powerful, there’s a danger you might devote the rest of your life trying to find that feeling again. For me, that rush came not from a needle but from a rented VHS tape at a friend’s house. A kid on a tricycle pedaled through the halls of an empty hotel and turned a corner to find two waiting twin girls. An electric shock ran through me. Pure terror that seemed to stop time. I’ve hunted that thrill ever since.
Robert Eggers (NOSFERATU)
Whistle and I’ll Come to You sheet scene (1968)
One of the most chilling horror sequences in cinema is the conclusion of the BBC’s adaptation of M.R. James’ tale, “Oh, Whistle and I’ll Come to You My Lad.” This was the initial M.R. James ghost story to be adapted for television during this timeframe, marking the start of the series “A Ghost Story for Christmas,” which debuted in 1972. I discovered it following the release of “The Witch,” upon my friend and composer Robin Carolan’s recommendation. Lasting approximately 40 minutes, this film offers a hauntingly atmospheric and subtly terrifying portrayal of horror, culminating in what might be the most effective depiction of a ghost shrouded in mist and the sensation of sleep paralysis ever captured on screen. I rewatch it once a year.
Parker Finn (SMILE)
The empty apartment in Kairo (“Pulse”) (2001)
In the chilling thriller, KAIRO or PULSE, directed by Kiyoshi Kurosawa, masterfully creates an environment shrouded in dread and suspense. One particularly harrowing scene involves the character Yabe investigating a gloomy, ominous apartment. As he delves further into the abyssal darkness, the silence is deafening, leaving us on edge, hoping against hope that he’ll escape unscathed. But when he reaches a dead end adorned with eerie red symbols, our hearts pound in anticipation, praying for him to retreat. However, a haunting choral melody interrupts the quiet, making us yearn for him to face his terror, to confront the nightmare lurking on the other side of the room. Barely discernible in the dark, we see the ghostly figure of a woman standing motionless. Her movement is grotesque and nightmarish, as if she’s wading through the depths of some spectral ocean. Yabe recoils and seeks refuge behind the only piece of furniture in this dreadful place: a tiny couch. Yet, Kurosawa doesn’t let us catch our breath, as the ghost leans over the couch, staring down at Yabe (and us), while we (and he) scream helplessly in the terrifying darkness.
Scott Beck and Bryan Woods (HERETIC)
Winkie’s Diner in Mulholland Drive (2001)
In natural and easy-to-read language:
This tale was published in the October 23rd edition of The Hollywood Reporter magazine. If you’d like to receive future issues, consider subscribing by clicking here.
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2024-10-25 19:55