When moviegoers caught the new “Killer with Knife” movie, the movie just released on October 25, 1978, aptly called Halloweenthey are seen as a rare experimental example, which will completely catch the audience off guard. It opens in the first person view and can look at a girl and her boyfriend as they take advantage of the fact that there are no adults around. The man walked into the house, picked up the knife (something that appeared to be a kid in a clown costume), hid and let his boyfriend leave after a worrying brief sex, put on a mask, and then went to his sister’s we to learn about his The room with the name is Michael, who intends to stab his sister to die.
This is not a Giallo movie, and when the camera moves to the killer’s point of view, the audience can allow the audience to peep the moment, which is an important creative decision in itself, which will define a unique style of horror filmmaking. This is an introduction to the story’s monster Michael Myers, who we are all invited to witness his first killing. What remains is history.
Monsters’ POV shooting is not a rare situation of horror. Movie Crimson red (1975) and Friday 13Th (1980) are just two examples of works with this style, especially in the way they establish death sequences. Then we have The American werewolf in London (1981), it hides the wolf largely behind the camera, only its flash helps throughout the process, which helps to expect the ending, ultimately allowing the monster to be in front of the camera. Predator (1987) will stand out by showing the unique abilities of titular creatures using thermal vision hunting, and we also have the opportunity to see it in the first person. PS2 video games siren (2003) will allow players to “target” ghosts in short units to take a step further.
The keywords here are short and all synonyms. These movies are immersed and exited the POV sequence for a moment. Effect Can If you sit too much at a time, you will run out of welcome. However, two recent films have been willing to prove that this approach can remain effective throughout the run time. Steven Soderbergh‘ Present and Chris Nash‘ In the nature of violencethey made an open invitation to POV horror movies.
Present Take away the pov that haunts the house with ghosts. A new family enters and immediately begins broadcasting dysfunctional ways in front of this invisible entity. The ghost responded to them accordingly, moving things and showing anger that it thought was necessary. In the nature of violence Follow Jason Vorhees-like machetes, he tracks a group of young victims of prototypes in the woods. We learned a little about the legendary supernatural killer here and there. The camera lingers behind the killer in most movies for a short distance, which means we can see behind his head. Therefore, killing feels even more cruel. They approach the camera uncomfortable and struggle to use the method behind Slasher.
Both films find ways to calm concerns about new forms. One of the main concerns In the nature of violenceFor example, it ends up being boring. What does Jason actually do when he doesn’t kill? Standing behind a tree, waiting for a horny teenager to walk by? Although it does have many walks Nature of violence Indeed, make things interesting by promoting conversations or take off your mask in a way that is used to build character myths.
Present It will never be bored. The ghost is always watching it to better understand the family it is plaguing and keeps up close with each member as each member talks about some of the most personal and painful things they have experienced. Behind the ghost’s eavesdropping is intention. It seems like the ghost is studying them, realizing the idea that the family might actually be bothering it.
Although both films do a few things, I hope they inspire more of these movies to address their shortcomings. For example, Present There is no particularly powerful intimidation factor. This is more of a family drama that is experienced from an invisible third-party POV. In fact, some family drama scenes play in a way that you forget to see anything through the ghost’s eyes. It usually looks like a regular movie with beautiful camera work. It’s a missed opportunity and a very disappointing opportunity as the film can easily be dedicated to exploring the mechanics of distress, and what a spirit makes it do, as it has all the necessary element.
In the nature of violenceOn the other hand, following its concept, but it avoids one of the most mysterious abilities of the supernatural machete: the long-distance teleportation of remote killers. Michael Myers, Jason and countless other 80s cutters caught their victims when they fled them after being shot, stabbed or pushed open the roof of their houses After that, it is everywhere. The only person Freddy Krueger left no doubt because he tangled his prey in the dream world where he could manipulate whatever he liked.
Director Nash simply got rid of this extended car riding scene that betrays the POV concept by locking the camera on the remaining victims of Slasher. At this point, it seemed as if he didn’t know exactly how to explain it, so he decided not to do so. The film does try to leave this aspect for public explanation, and finally shoot, and although the distance between him and the victim is impossible, will the burden on the audience come to a conclusion. But this is not the time to back down. This is a time to go all out and it is possible to give us something special.
That said, I’m glad these movies exist. They are all big neon arrows pointing to the entrance of the bottle opener. The possibilities are endless, depending on the upcoming filmmakers, experienced filmmakers, and everyone in between can shoot. POV lenses don’t have to be identity concealer anymore. Now, at the price of movie tickets, you can be a monster and you think of it as something someone else escapes.
