A24’s surge into popular demand has become synonymous with the term ‘Elevated Horror’. Also known as Arthouse Horror, these films tend to focus more on experimental forms of shocking the audience, breaking away from the recent trend of jumpscares or the ever-popular Slashers. Therefore, they usually pander more towards critics than the general public, and will have definitely been recommended by that guy as the best piece of cinema you’ve ever seen (links here to those reviews and posts).
What’s truly contentious about the sub-genre is the word ‘elevated’ i.e. better than the usual slop. It takes some aloofness to describe these specific spooky flicks as above the rest – irrespective of actual quality. This term seems to have occurred as a manifestation from psychological horror, implying that a man running at you with a chainsaw bears no traumatic emotional damage. Thankfully, there are some films that incorporate contemporary social commentary and praise past aesthetics, amalgamating simply as stellar pieces of horror.
Two examples of these pictures are X and Pearl. In addition to A24’s ability to rejuvenate established actors with risqué roles such as Adam Sandler in Uncut Gems, the distribution company has a great success rate with emerging talents. Director Ti West was infamously known for Cabin Fever 2: Spring Fever, a title tarnishing his filmography so much he wanted it removed. Mia Goth was already testing the arthouse horror waters with supporting roles in Nymphomaniac and A Cure for Wellness, whereas the latest Disney channel export Jenny Ortega was still finding her feet.
Together, alongside newcomer Kid Cudi, they would create X (2022): a slasher film set in 1979 following a group of amateur filmmakers shooting an adult picture. Travelling to rural Texas, they stay at a reclusive old couple’s farm, using it as a backdrop for The Farmer’s Daughters – an actual pornagraphic movie from 1976. Once owners Pearl and Howard (Stephen Ure) catch on to their antics, however, things begin to spiral out of control with bloody results.
What’s structurally interesting about X is that they restrain themselves from the excellently gory action until its second half. Prior, they use quiet unsettling moments (one involving an alligator that’s terrifying) to keep a simmering tension throughout, whilst concentrating on immersing the audience with its 70s aesthetic. Blue Öyster Cult and an acoustic version of Fleetwood Mac’s Landslide (performed by Brittany Snow and Kid Cudi) make up the soundtrack, supported by West’s edited grainy film texture that feels directly taken from The Texas Chainsaw Massacre.
Where X is ‘elevated’ from Leatherface is the running discussion of exploitation within pornography. College camera operator RJ (Owen Campbell) is less bothered about the content than his church-going, boom-operating girlfriend Lorraine (Ortega), focusing more on the artistry of making a ‘good dirty movie’. However, when Lorraine is inspired by Maxine and Bobby-Lynne’s body confidence (Goth and Snow), RJ’s reluctance turns the conversation to men treating women as property and monetising their good looks. The commentary adds a perspective not often heard in horror films, and only helps X to stand out from other slashers.
Youthful beauty is the common theme between X and Pearl. Due to the COVID-19 pandemic, X’s delayed production schedule presented Ti West and Mia Goth with an opportunity to collaborate on a potential prequel for the farming matriarch. Pitching the idea to A24 resulted in a quick agreement, allowing West and Goth to secretly shoot Pearl simultaneously. This meant that they could fully capitalise on the success of X by releasing the prequel within the same year, whilst maintaining hype for the eventual sequel MaxXxine.
Pearl is the embodiment of a character showcase, as Mia Goth is in practically every scene à la Cate Blanchett’s Tár. Set in 1918, West takes inspiration from The Wizard of Oz and similar pictures to produce a vivid technicolour style. This felt a lot more abrasive than its 70s counterpart, bordering cartoonish in sections, but this matches Goth’s temperamental energy. Her amazing performance will be the make-or-break for your enjoyment of Pearl, especially as it features an eight minute monologue that I cannot get over.
The other jarring point for me was how integral a pandemic was to the plot. An influenza outbreak has resulted in Pearl’s Dad (Matthew Sunderland) being paralysed, placing extra strain on her Mother Ruth (Tandi Wright). Granted, it makes sense for West to take such inspiration from lockdown when writing the script, it’s just ironic how such a delay for the UK release meant seeing everyone wear masks again in 2023 – a reminder of how bad it has been recently. This relatability continues with Pearl’s ambitions to become a star and pull herself out of obscurity, a drive quickly turning to desperation in the same sense I feel looking at my social analytics.
Altogether, whilst I prefer X to Pearl as a more well-rounded piece, Ti West and Mia Goth prove they know how to make captivating horror that appeals to the majority. They’ve also shown there’s a beautiful middle ground between the lowest-common-denominator sequel getting pumped out for quick profits, and experimental pretentious projects aimed towards a niche group of kino nerds.
