38 Results for “v/h/s”
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The Camera as Narrator: V/H/S/2
The new horror anthology film V/H/S/2–once you’ve shaken the blood from your hair–leaves behind some striking images and moments. Oh the lowly horror genre: the place where there is more cinematic risk-taking and experimentation happening than in the likes of “serious” films such as Paul Thomas Anderson’s The Master or Terrence Malick’s pulseless To the Wonder. There is, in particular, one short sequence in V/H/S/2 where the experiments with camera narration are revealing not only in terms of the potential uses of narrative point of view but also in terms of how we process visual information. It’s easier to think […]
by Nicholas Rombes on Jun 7, 2013 -
V/H/S 2
by Billy Brennan on May 31, 2013 -
V/H/S
Through six found-footage-style shorts, each by different directors, V/H/S captures many of the classic horror tropes while avoiding feeling stale and formulaic. Adam Wingard’s Tape 56, which sees a group of guys break into a dilapidated house to find a particular VHS tape, serves as a framing narrative in which the other five chapters of the anthology unfold. From the visceral scares of David Bruckner’s Amateur Night to the slow-broiling tension of Ti West’s Second Honeymoon, these shorts cover a multitude of tones and genres (from slasher to haunted house) while maintaining a cohesive thematic bent. In a shooting style […]
by Webadmin on Oct 24, 2012 -
Lady Vengeance: V/H/S — Horror Movie Litmus Test
The most important thing to know about V/H/S is that it is more than the sum of its gimmicky-on-paper parts, which include found footage film, genre anthology, and snuffy homage to the recent history of lo-fi horror. Although it is not entirely free of the inherent unevenness of the omnibus film, V/H/S works surprisingly well as a whole because of consistency in the aesthetic, clever writing, and tongue-in-cheek humor across multiple directors’ vignettes. The setup involves a group of 20-something delinquents whose primary activity is shooting prank videos of a slightly racier nature than the likes of Jackass. When they […]
by Farihah Zaman on Oct 5, 2012 -
BLOODY DISGUSTING FOUNDER BRAD MISKA ON SUNDANCE HORROR PIC “V/H/S”
“When we started Bloody Disgusting back in 2002, we were the only ones doing it daily,” says Bradley Miska about the origins of his all-horror site. Sites like Ain’t It Cool News, Dark Horizons and Jo Blo were around too, but as its name would suggest, Bloody Disgusting hammered a wooden stake in the burgeoning field of online horror coverage and now, 10 years later, it is reaping the rewards. Management company The Collective “bought into” Bloody Disgusting five years ago, says Miska, and today the co-owned website is just one part of a gory mini-empire that also includes a […]
by Scott Macaulay on Jan 22, 2012 -
“V/H/S”| Filmmakers Matt Bettinelli-Olpin, Tyler Gillett, Justin Martinez, Chad Villella
Matt Bettinelli-Olpin: For our segment of V/H/S (“10/31/98”), we spent an entire night searching for a train. After hours of driving around, we still couldn’t get what we needed, so we decided to park near some tracks and wait. It was a little after midnight on a Tuesday and there we were: four friends, grown men sitting in a parked car with lights off, down a dark alley somewhere in South Los Angeles, dressed up as a pirate, a Marine, a life-sized teddy bear & the Unabomber. A woman walking by caught a glimpse of us and quickly picked up her pace–and I’m sure our awkward attempts […]
by Filmmaker Staff on Jan 22, 2012 -
Necessary Filmmaking: An Excerpt from Jake Mahaffy’s Micro-Budget Methods of Cinematic Storytelling
A Filmmaker 25 New Face from 2005, Jake Mahaffy has been making microbudget films for two decades and has now distilled his creative and production philosophies in a new book, Micro-Budget Methods of Cinematic Storytelling: A Practical Guide to Making Narrative Media with Minimal Means, published April 2025 from Routledge. In the excerpt below, Mahaffy outlines several foundational concepts microbudget filmmakers should embrace.—Scott Macaulay Ownership, Intelligent Design and Creative Control Limitations imposed upon you are called “restrictive,” but limitations you impose on yourself are “creative choices.” Professionals set their own rules all the time. Regardless of budget, directors will force themselves to […]
by Jake Mahaffy on Mar 18, 2025 -
“Like If Pablo Larrain’s Jackie Was About Jason Voorhees”: Editor Alex Jacobs on In A Violent Nature
In a Violent Nature, the directorial debut of Chris Nash and a Sundance 2024 Midnight selection, puts a twist on the slasher film by staying close to the killer. Instead of the shenanigans in the secluded cabin with vaguely menacing sounds from outside, it shows us the killer trekking toward the distant voices. The film also marks the graduation of editor Alex Jacobs, who worked on titles, graphics and credits on the V/H/S film to lead editor on another director’s project. Below, he shares his serendipitous introduction to the director and how his love of lo-fi beats helped him in editing. […]
by Filmmaker Staff on Jan 22, 2024 -
“Literally Filmed Within Two Miles of My House”: Larry Fessenden on Blackout, Streaming and His Role in Killers of the Flower Moon
Reviewing a boxset of writer-director Larry Fessenden’s work in 2015 for Filmmaker, I began by noting that “Fessenden can frequently be found on the outskirts of the New York filmmaking community, using his production company Glass Eye Pix as an outlet of support for fellow filmmakers.” While my summation of the celebrated horror auteur’s altruism remains accurate (the company turns 40 in 2026), Fessenden’s own films have grown tougher to get off the ground. A new film by him is therefore a major event, albeit one that happens quietly. Having made its world premiere at the 27th Fantasia International Film […]
by Erik Luers on Oct 20, 2023 -
“Coming of Age Is a Lifelong Process”: Jennifer Reeder on Perpetrator
“I have no shame saying that on some level, I’ve kind of been making the same film over and over,” writer-director Jennifer Reeder tells me on a recent Zoom call. We’re speaking ahead of the Berlinale premiere of Perpetrator, the anticipated follow-up to her 2019 feature debut Knives and Skin, a horror-tinged teen noir that centers on the disappearance of a high school-aged girl and the reckoning that it brings to a Midwestern town’s inhabitants, particularly the girl’s mother and her teenage friend group. Perpetrator iterates a similar narrative trajectory, this time with a distinct genre sensibility. Precocious 17-year-old Jonny […]
by Natalia Keogan on Feb 23, 2023
