![]() ![]() Her say-so determines what can stay and what gets cut in any film, assuming she doesn’t ban it outright. It tells of Enid Baines (Niamh Algar), an employee of the British Board of Film Classification, where she exerts an exceptional level of scrutiny toward “video nasties,” violent, cheaply produced horror films that were subject to considerable public outrage in the Thatcher era. The dick pics, RFK, jr,’s testimony, and McCarthy’s promise to expunge impeachment records are all…Ĭensor is Welsh director Bailey-Bond’s debut feature. On the surface these two films would be of a piece with the ongoing trend, at least until it occurs to viewers that that very nostalgia is being weaponized against them. The clunky videocassette on its own is a harbinger to mystery, if only by virtue of the fact that the tolerance for managing a VCR is a vanishingly rare eccentricity in 2021. Archive 81, the James Wan-produced horror series centered on found Hi8 tapes, is among the top ten most-watched on Netflix. The horror podcast Video Palace draws just as effectively from the grimy lore of the independent rental outlet. Short “analog horror” films employing the bugs and quirks of public access television to sinister effect are profuse on YouTube. Apps provide VHS camera filters for your phone. The last-surviving Blockbuster Video location, in Bend, Oregon, is a place of pilgrimage. The once-laborious VHS technology has gained a strange digital afterlife. ![]() They are attuned to a pervasive wave of nostalgia felt in the age of the glitch for the bygone age of static. Those details, it turns out, are at the source of the films’ clever appeal-and they help distinguish the films’ otherwise identical psychological framework and philosophical outlook.īroadcast and Censor are at once narratively backward-looking and thematically contemporary. Both have distinct dread-inducing visual styles rendered in such detail that they each fabricate in-world films and TV shows to drive their stories. Both are set in the recent past-1999 Chicago for Broadcast 1985 England for Censor-and are centered on the predominant technological media of those times: VHS and television. Two movies released within months of one another last year and now widely available on streaming platforms-Prano Bailey-Bond’s Censor and Jacob Gentry’s Broadcast Signal Intrusion-have an astounding number of commonalities, even by the standards of “ twin films.” Both feature protagonists who long for closure, who stare at screens professionally, and who so lose their grip on reality in doing both that they commit terrible acts. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |