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Horror Twins Danny & Michael Philippou On The Evil That Lies Beneath In Their Latest ‘Bring Her Back'

Horror Twins Danny & Michael Philippou On The Evil That Lies Beneath In Their Latest ‘Bring Her Back'

Yahoo4 days ago

What evil lies in down and under?
Surely a place filled with kangaroos and Men at Work can't be all this sinister. And the most unsuspecting duo of the deepest abyss of horror are Sundance Film Festival wunderkinds-turned-genre meisters, twin brother filmmmakers Danny and Michael Philippou. They're so vivacious and jolly, you'd never think they could conjure the grossest and most look-away moments in recent horror cinema. These guys make Ari Aster's Midsommar look like a PG version of Alice in Wonderland.
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A24 acquired the duo's possessed teens movie Talk to Me for high-seven figures out of a raucous midnight screening at Sundance in 2023, with that title going on to gross a great $48 million-plus stateside and nearly $92M worldwide.
What's their secret? More than a child eating his own skin (which you'll see this Friday in their latest, Bring Her Back), it's the duo's talent for creating deep, sympathetic and resonant characters. Bring Her Back follows two foster siblings, a young girl Piper who is visually impaired (a sublime turn by newcomer Sora Wong) and her older brother Andy (Billy Barratt, also great). With their parents gone from this world, Andy wants oversee of Piper, but the system won't allow it. They're put into the care of an older single woman, Laura (two-time Oscar nominee Sally Hawkins), who already has supervision (should we even say that?) over a young boy, Oliver (Jonah Wren Phillips). However, he's torturing himself severely, and well, there's a pool. What's wrong with this picture? What's wrong with this woman? Well, you've got to see the movie to find out what happens.
Listen to our convo below with the Philippous and their inspirations, one of them being the 1967 Audrey Hepburn thriller Wait Until Dark in which the actress played a visually impaired woman terrorized by thugs in her apartment.
There's a lotta horror in the marketplace, but when it's great, there's no cannibalization as we recently saw with both Sinners ($258.8M) and Final Destination Bloodlines ($94.1M and counting). Perhaps Bring Her Back will continue to bring horror cinephiles back to the multiplexes.
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And Just Like That Season 4 - News, Cast, Updates, More
And Just Like That Season 4 - News, Cast, Updates, More

Cosmopolitan

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  • Cosmopolitan

And Just Like That Season 4 - News, Cast, Updates, More

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Bring Her Back's Danny & Michael Philippou on how horror can ‘exercise your demons'
Bring Her Back's Danny & Michael Philippou on how horror can ‘exercise your demons'

Digital Trends

time37 minutes ago

  • Digital Trends

Bring Her Back's Danny & Michael Philippou on how horror can ‘exercise your demons'

Danny and Michael Philippou may have started on YouTube, but they are not social media influencers. Don't get it twisted. The Philippou brothers are legitimate filmmakers who hit a home run with their 2022 feature film directorial debut, Talk to Me. On a budget of $4.5 million, Talk to Me grossed $92 million worldwide, A24's highest-grossing horror film. Instead of pursuing projects in other genres, the Philippous stayed in horror for their sophomore feature, Bring Her Back. After the death of their father, Andy (Billy Barratt) and his visually impaired younger sister, Piper (Sora Wong), move into the home of their new foster mother, Laura (Sally Hawkins). Laura tries to be their friend first and foremost. However, Laura is hiding a sinister secret behind closed doors. The key to uncovering the truth might lie with Oliver (Jonah Wren Phillips), a mute boy who exhibits unsettling behavior. Bring Her Back does not skimp on the violence and gore. It's disturbing and upsetting. However, the Philippous smartly snuck an emotional drama about grief at the center of their supernatural horror. Recommended Videos Below, the Philippou brothers discuss why horror is the 'best way to exorcise your demons' and how they bring out the best in their young cast. This interview has been edited for length and clarity. Digital Trends: How was the premiere? Danny Philippou: It was amazing. It was incredible having everyone there, and it was just the best vibe. With YouTube, you put out videos and wait for feedback through comments and messages. At a premiere, people can literally walk right up to you and tell you what they thought. How does it feel to receive that instantaneous feedback? Danny: My gosh. The buildup to it feels like a really long YouTube video. It feels like you've been working on a YouTube video for two years, and you're premiering for the first time. It's terrifying. Michael Philippou: So much anxiety leading up. As soon as we walked up to the theater, and all those people came to watch it — we had the cast there — it was an incredible experience. Such amazing energy in that cinema. People who love movies come in to watch something together. It's awesome. Danny: It is a weird thing interacting with people right after that. They have an experience. We had to go to dinner because one of the cast members was too young to watch it. We had dinner and came back. It's so weird. They [the audience] have gone through something. They're talking about it. The vibes were really incredible. What's your most memorable movie theater experience? Danny: We watched The Texas Chainsaw Massacre when we were, like, 10 years old. Our dad's friend Jenny would take us to watch these MA 15+ movies, which is like America's R. She was like, 'They're OK. They're old enough. They're all right.' And so I felt so cool that I got to go watch these films. We went to watch Texas Chainsaw Massacre, and Michael was the biggest coward. [Laughs] He was so scared. He left the cinema and ran out. I was humiliated. Michael: Yeah, I literally felt sick. I thought I'd never get scared by anything, and that really scared me. When she's stabbing the friend hanging from the meat hook, I'm like, 'Oh my god!' It said, 'Inspired by true events.' I was like, 'This happened!' I ran out. It was terrifying. Danny: It's a rite of passage to be terrified by a movie when you're younger. Michael: In American film culture, there's so much more passion. In Australia, it's not really anything like that. We went to the John Wick 4 premiere at SXSW. Someone [in the movie] is like, 'You need a gun,' and John Wick is like, 'Yeah.' [Screams] The crowd is like, 'Yeah!' [Laughs] Danny: New York and LA, every time we come out here, I just want to go to the cinema and watch movies with people because I fucking love it. That's what it feels like seeing an Avengers: Endgame or a Spider-Man movie. People are running up and down the rows going crazy. Did you see The Substance? Danny: I did watch The Substance. When it ended, my whole theater was silent. There were maybe 30 or 40 people. For one minute, no one talked or move. This guy turned around and said, 'Is everyone OK?' Danny and Michael: [Laughs] The whole theater erupts in laughter. It was a perfect icebreaker. Thankfully someone said it because we had no idea what to do. Danny: That's wicked. Michael: Awesome. With horror, what makes it such a good vessel to tell a story about grief? Danny: It's the best way to exorcise your demons. You feel like you're carrying stuff on your shoulders, and you've got this weight. It's just somewhere to place it, somewhere to put it, and somewhere to disconnect from it. There's a cathartic part of it. It's the purest thing of expression. It doesn't have to be hitting you over the head with a message. You can express something in a really visceral way. It's not a one-on-one analogy … horror allows you to dive into really, really dark themes in a fun way. Talk to Me and Bring Her Back both tackle grief. They deal with how people cope with tragedies. Two movies, but they align thematically. How do you group these two movies? Do you see them as a pair? Is one an extension of the other? Danny: Because we developed and wrote them at the same time, Bring Her Back feels like a spiritual successor or a sister film to Talk to Me. That's what it feels like to me. I feel like they're siblings. Michael: Once Talk to Me finished, it felt like we hadn't gotten that out of our system. Thematically, there was still stuff to explore. There was enough there that if we didn't make it, it would always stay in our minds. It's one of those things where once a movie gets in your head, it won't leave your head until you make it. You get it out into the world, and then it becomes real. Danny: Yeah, it's so odd. It was such an awesome place to put things because we had a loss right at the start of the film. We lost somebody, a family friend. The script changed. Things changed. Everything turned. This [Bring Her Back] was somewhere to put that and come to terms with it. We also didn't have time to reflect on the movie. We delivered it, and then straightaway we're on a flight to America to start promoting it. I haven't even watched it properly back. It was such a surreal thing. I like how you put it in the notes, Danny. The creation of Laura was a character you 'uncomfortably sympathize with.' I never found myself rooting for her per se, but I can somewhat rationalize why a broken person would do whatever it takes to get by and keep living. In developing Laura, how did you balance her nefarious actions with her more humane elements? Danny: It was always important that Laura's struggling with what she's doing. It's not something she outwardly wants to do. Always looking at it from a human perspective and making sure that it feels real and lived in. A big part of the writing process is making sure that the film can exist as a drama film. Then, the horror elements can grow out of that. Having a performer like Sally Hawkins brings such weight to these sort of roles. She brings such realism to it. That automatically helps bring that to life. She was good at toeing the line. It's a weird thing in the script. Does this feel contradictory? If you don't nail these beats in a super subtle way, it's going to feel contradictory. With a performer like Sally, she's able to bring that to life in such an awesome way. That scene where she's standing by the window with blood all over and looking at Ollie, the camera starts to move in a circle. That was like my aha moment in the movie. I'm like, 'OK. I now know what she really wants to do.' Take me through building that scene. Danny: She's on this screwed-up cycle. She's pulling these kids into this demented circle she's got. She's going in circles, and grief sometimes feels like that. It feels never-ending. It feels like you always end up on the first step. There are a bunch of different themes that we're trying to convey. What's the most visual way possible? I don't want dialogue. I want to be able to show this and feel this visually, having the camera movement tie into that. Also, the sound design and the score, using all those speakers, I want to pull the audience into it. Those circular motifs were in the sound design and in the music. Michael: We gave the script to our composer, Cornel [Wilczek], and he created these two pieces that were like 10-minute ideas of what the sound should be. That part where she's doing the circle, that was one of the moments in the music. It was perfect. That was his representation of it. It was so perfect. That was like, OK, let's work with this, and let's find out what this is. That's when the camera movement and all that came together. Danny: You have the music, and you're listening to it, and you're reading the script. It's such a valuable tool to have on set. That was something that we changed from Talk to Me, which had the music at the end of the process. Having that at the beginning in pre-production and having that music when we edit while we're on set helped the process so much. Having the actors be able to listen to it creates such a mood. Michael: [Making circular movement] That camera movement is hard. There's one guy on this rig, and it's like three people controlling it. You've got to try and keep it straight each way. Danny: There's someone on the wheel focused on the pull. Michael: [Laughs] Yeah, it was hard. You've worked with a younger cast in two movies. Obviously, you have Sally, but you also have three awesome young kids in this movie. There are things you can say and do around an adult that you wouldn't necessarily do around young people. What have you learned about working with a younger cast and how to direct them on set? Danny: Obviously, an important part of the process is having their parents on set, having them be comfortable, and letting them know that there's no such thing as a bad take. There's no such thing as a bad performance. Whatever you need to do to feel comfortable, you can do. You don't have to stick to this dialogue. If it doesn't feel right or it doesn't feel natural, how would you say it? How would you do it? Collaborating with them and letting them bring their voices into it — that is the end result for all of the actors. You can pick the costume. You can dress the set. Collaborating with them as artists and allowing them to express themselves as well. With someone like Sora, who is vision impaired and can bring another layer to the script that we couldn't have possibly written, that's an amazing part of the process. They're [the child actors] so open and a bit more raw because they're not fully pretending. They are themselves. I think that's a cool part of the process. Michael: And keeping it fun, keeping the energy on the set. You're dealing with such a heavy subject matter. … It's keeping it fun and light and getting into these headspaces for specific scenes. The kids would sometimes put too much pressure on themselves, thinking, 'Oh my god. This movie, I've got to make sure it's right.' All of that doesn't matter. All these cameras, all these people around — it doesn't matter. Do what you did in the audition and put yourself in this moment and feel this emotion. Let's get that. We have time. We're not going to rush it. It's not one-and-done. We'll work with you. Let's just make this moment feel real and genuine. There was an amazing transformation. Sora, who had never acted before, from the beginning of the film to the end, was incredible to watch. She's amazing. Danny: Even with Sally, there are certain scenes she was nervous building up to where she's like, 'I don't know if I can pull this off. I don't know if that's right.' If we need to come back and shoot it, even though we don't have the budget or money, we will find a time to come back and shoot it. Let's try and tackle these scenes head-on. Whatever lets people feel comfortable, we try to accommodate. A24's Bring Her Back is now in theaters.

Embracing The Horror Trend As A Self-Confessed Wimp
Embracing The Horror Trend As A Self-Confessed Wimp

Buzz Feed

timean hour ago

  • Buzz Feed

Embracing The Horror Trend As A Self-Confessed Wimp

We are witnessing a new wave of horror films, with Sinners, Bring Her Back, and Talk To Me as few of the successful horror films of late. As a certified scaredy cat, I hate all things horror. The first horror film I watched was Annabelle (2014) when I was 10, because my sister tricked me by telling me it was an animated film. And let me tell you — that creepy ass doll was my nightmare for the next 6 years of my life. And due to this, horror to me was a genre filled with scary looking ghosts, jumpscares, incredibly loud and eerie background music with no actual story to it — just ghosts deciding to haunt random (white) people in big suburban houses. And this led to me avoiding all horror movies or even anything near it. In the process, I unknowingly skipped past all the great cinematic work that I found out about much later — Silence In The Lambs, The Sixth Sense, and The Babadook, for instance. Cut to 2019 — when I dared to watch the iconic Ari Aster film, Midsommar, because my friend told me it was " not too scary." And that was when my world changed. I am a sucker for deeper and hidden meanings in films and the use of symbolism, which Ari Aster nailed. Midsommar became the film that got me hooked to this once-hated genre. The combination of unhealed trauma, grief, neglect and ritualistic horror was enticing to me. It took the best out of both worlds — psychology and horror — and gave us a layered and nuanced cult horror masterpiece (and the iconic Florence Pugh frown). After seeing so many people who, like me, are easily scared but are exploring the magic of horror films, sharing their regrets online, it made me realise that there is a change in the way horror films are made, making it unmissable for even wimps like me. I then took a deep dive into modern horror classics. Starting with Robert Egger's The Witch to Jordan Peele's Get Out, the new crop of horror films has multiple layers of cultural and societal nuances, masterfully wrapped in stories that still make me clutch my blanket! Recent movies are telling us that true horror is the world we are living in, making it scarier. Yet it is addictive. It's safe to say, a new era is in for horror, and our favorite directors and writers are making the most out of it! by u/dremolus from discussion in horror I'm looking at you, Robert Eggers! Hereditary, Ari Aster's film which set this ball rolling, is a film that hits you in the gut and keeps you wide awake. The terror is not in the jumpscares, but in the raw, emotional chaos that is painfully real, but still has that supernatural feeling. The lack of eerie music and the booming silence made it unsettling and terrifying - and that's what made it so unforgettable. Don't get me wrong — classics like The Shining and Black Swan are etched in wood as true horror. But this new turn of the genre becoming mainstream is more exciting, with anti-horror fans gathering the courage to watch these films in theatres. But why are these fans risking their sleep? Because of the majestic cinematography, emotional depth, and fresh perspectives that trump the spooky stuff. Bring Her Back, the 2025 horror film by the same directors as Talk To Me is the perfect example of the above. Released on May 29th worldwide, people are already shook from the gory and painful depiction of grief and trauma. The film follows a pair of siblings who encounter their foster mother in a terrifying ritual, set in an isolated home. The movie depicts the effects of unresolved trauma and grief. Tied with bloody visuals, creepy use of taxidermy, and squeamish sounds in the background — this film is THE embodiment of nuanced horror, making it scarier. Monsters and ghosts are easy — it's the quiet trauma that keeps me up at night. With the lights on, duh.

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