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Time Magazine
4 days ago
- Entertainment
- Time Magazine
The 10 Scariest Movies of All Time According to AI
This article is published by a partner of TIME. There's something irresistible about a good scary movie. The thrill of fear, the pulse-pounding suspense, and the sheer adrenaline rush make horror films a favorite for audiences worldwide. Whether it's the unsettling quiet before the scare, the psychological torment, or the grotesque imagery, scary movies have the power to keep us on the edge of our seats and haunt our dreams long after the credits roll. The best horror films are not just about jump scares—they tap into our deepest fears, from the fear of the unknown to the terror of losing control. They weave compelling stories, feature unforgettable characters, and create an atmosphere so tense that viewers feel like they're part of the nightmare. These movies stand out because they not only scare us but also stay with us, making us think about what fear truly means. This article showcases the 10 scariest movies of all time, using research assistance from ChatGPT. These films have defined the horror genre, terrified audiences, and left an indelible mark on pop culture. From supernatural hauntings to visceral psychological horror, these movies represent the pinnacle of fear-inducing cinema. 1. The Exorcist (1973) 'The Exorcist' is a story about a young girl possessed by a demonic entity and the lengths her family goes to for her salvation. The film's chilling depiction of possession, combined with groundbreaking special effects and an unforgettable soundtrack, solidified its place as one of the scariest movies ever made. Its psychological and spiritual terror resonates with audiences to this day. 2. Hereditary (2018) Ari Aster's 'Hereditary' is a modern masterpiece of psychological horror, exploring grief, family secrets, and supernatural terror. The film builds an overwhelming sense of dread, culminating in a shocking and unforgettable finale. Toni Collette's haunting performance elevates this tale of familial disintegration. 3. The Shining (1980) Stanley Kubrick's adaptation of Stephen King's novel is a chilling exploration of madness and isolation. Set in the eerie Overlook Hotel, 'The Shining' follows Jack Torrance's descent into insanity as supernatural forces take hold. Its iconic imagery and unforgettable performances make it a horror classic. Director: Stanley Kubrick Key Stars: Jack Nicholson, Shelley Duvall, Danny Lloyd Notable Scenes: 'Here's Johnny!' and the blood-filled elevator Box Office: $47 million worldwide (original release) Awards: Now considered a masterpiece, though snubbed during its release Legacy: Influenced countless horror films and pop culture references 4. Halloween (1978) John Carpenter's 'Halloween' introduced the world to Michael Myers, the masked killer who stalks babysitters on Halloween night. With its simple yet terrifying premise, the film popularized the slasher genre and became a cultural phenomenon. Its eerie score remains one of the most recognizable in cinema. Director: John Carpenter Key Stars: Jamie Lee Curtis, Donald Pleasence, Nick Castle Notable Scenes: Michael's slow stalking and the final confrontation Box Office: $70 million worldwide (on a $300,000 budget) Awards: Received critical acclaim for its direction and tension Legacy: Inspired countless sequels and the slasher subgenre 5. The Texas Chain Saw Massacre (1974) Tobe Hooper's low-budget horror film shocked audiences with its raw, visceral depiction of terror. Following a group of friends who fall victim to a family of cannibals, 'The Texas Chain Saw Massacre' is an unrelenting and disturbing experience. Its documentary-style realism adds to the horror. Director: Tobe Hooper Key Stars: Marilyn Burns, Gunnar Hansen, Edwin Neal Notable Scenes: Leatherface's first appearance and the dinner scene Box Office: Over $30 million worldwide Awards: Cult status despite initial controversy Legacy: Established Leatherface as a horror icon 6. Psycho (1960) Alfred Hitchcock's 'Psycho' is a psychological thriller that redefined horror with its shocking twists and groundbreaking approach to suspense. The story follows Marion Crane, who meets her untimely fate at the infamous Bates Motel. The film's shower scene is one of the most famous moments in cinematic history. Director: Alfred Hitchcock Key Stars: Anthony Perkins, Janet Leigh, Vera Miles Notable Scenes: The shower scene and the final revelation about Norman Bates Box Office: $50 million worldwide Awards: 4 Academy Award nominations Legacy: Considered the blueprint for modern horror films 7. A Nightmare on Elm Street (1984) Wes Craven's 'A Nightmare on Elm Street' introduced Freddy Krueger, a supernatural killer who stalks his victims in their dreams. Combining slasher horror with surreal imagery, the film is both terrifying and inventive. Freddy's burned visage and razor glove are iconic. Director: Wes Craven Key Stars: Robert Englund, Heather Langenkamp, Johnny Depp Notable Scenes: Freddy's first kill and the ending twist Box Office: $57 million worldwide Awards: Launched a highly successful franchise Legacy: Cemented Freddy Krueger as a horror legend 8. The Ring (2002) Gore Verbinski's remake of the Japanese horror film 'Ringu' brought the haunting tale of a cursed videotape to Western audiences. The film's eerie atmosphere and shocking imagery, particularly Samara crawling out of the television, terrified viewers worldwide. Director: Gore Verbinski Key Stars: Naomi Watts, Martin Henderson, David Dorfman Notable Scenes: The videotape sequences and Samara's well Box Office: $249 million worldwide Awards: Critical acclaim for its atmosphere and cinematography Legacy: Sparked a wave of Japanese horror remakes 9. The Blair Witch Project (1999) 'The Blair Witch Project' popularized the found-footage genre with its terrifying story of three filmmakers lost in the woods. The movie's minimalist approach and suggestion of unseen horrors created an unparalleled sense of dread. Directors: Daniel Myrick and Eduardo Sánchez Key Stars: Heather Donahue, Michael C. Williams, Joshua Leonard Notable Scenes: The final scene in the house and the tent attack Box Office: $248 million worldwide on a $60,000 budget Awards: Praised for its innovation and marketing Legacy: Reinvented the horror genre with its realism 10. It (2017) The modern adaptation of Stephen King's 'It' brought Pennywise the Clown back to terrify a new generation. With a mix of psychological horror, jump scares, and emotional depth, 'It' became a critical and commercial success. Bill Skarsgård's portrayal of Pennywise is as terrifying as it is unforgettable. Director: Andy Muschietti Key Stars: Bill Skarsgård, Finn Wolfhard, Sophia Lillis Notable Scenes: The sewer introduction and the projector scene Box Office: $701 million worldwide Awards: Nominated for multiple critics' awards Legacy: One of the highest-grossing horror films of all time Conclusion on Scary Movies Scary movies are more than just entertainment—they're an art form that taps into our primal fears and emotions. The films on this list showcase the creativity and brilliance of filmmakers who have mastered the craft of horror. Whether it's through psychological tension, supernatural terror, or outright gore, these movies have left an indelible mark on the genre and our collective psyche. From the timeless suspense of Psycho to the modern psychological dread of Hereditary, these films prove that fear is universal and endlessly captivating. As horror continues to evolve, these classics will remain benchmarks, reminding us of the enduring power of a good scare. Whether you're a lifelong fan or new to the genre, these movies are essential viewing for anyone brave enough to experience them. Related Articles: About the Authors: Richard D. Harroch is a Senior Advisor to CEOs, management teams, and Boards of Directors. He is an expert on M&A, venture capital, startups, and business contracts. He was the Managing Director and Global Head of M&A at VantagePoint Capital Partners, a venture capital fund in the San Francisco area. His focus is on internet, digital media, AI and technology companies. He was the founder of several Internet companies. His articles have appeared online in Forbes, Fortune, MSN, Yahoo, Fox Business and Richard is the author of several books on startups and entrepreneurship as well as the co-author of Poker for Dummies and a Wall Street Journal-bestselling book on small business. He is the co-author of a 1,500-page book published by Bloomberg on mergers and acquisitions of privately held companies. He was also a corporate and M&A partner at the international law firm of Orrick, Herrington & Sutcliffe. He has been involved in over 200 M&A transactions and 250 startup financings. He can be reached through LinkedIn. Dominique Harroch is the Chief of Staff at She has acted as a Chief of Staff or Operations Leader for multiple companies where she leveraged her extensive experience in operations management, strategic planning, and team leadership to drive organizational success. With a background that spans over two decades in operations leadership, event planning at her own start-up and marketing at various financial and retail companies, Dominique is known for her ability to optimize processes, manage complex projects and lead high-performing teams. She holds a BA in English and Psychology from U.C. Berkeley and an MBA from the University of San Francisco. She can be reached via LinkedIn.
CairoScene
21-05-2025
- Entertainment
- CairoScene
Review: Eddington, The Unmasking That Reveals Nothing New
Review: Eddington, The Unmasking That Reveals Nothing New I was genuinely looking forward to Ari Aster's Eddington, but it didn't live up to my expectations. After Hereditary, Midsommar, and the ambitious yet ultimately disappointing Beau Is Afraid, Aster reunites with Joaquin Phoenix for what might be his least compelling project to date. While Eddington is watchable and never exactly dull, it lacks the depth and sharpness of his earlier work. The film is a satire set in a fictional small town in New Mexico. It pokes fun at how people behaved during the COVID lockdown. The divide over wearing masks becomes a central metaphor for a country that can't agree on anything. It also touches on America's fixation with online conspiracy theories, political correctness, the Black Lives Matter movement, and white privilege. In many ways, the town serves as a microcosm of the United States. On paper, this all sounds splendid. The problem is that Eddington barely scratches the surface of the topics it raises. Its commentary feels shallow, and its attempts at humour often come off as forced. It wants to be clever and biting, but ends up being more smug than insightful. The plot kicks off when Sheriff Joe Cross (Joaquin Phoenix) refuses to wear a mask at the local convenience store. His small yet defiant gesture leads to him deciding to run for mayor. He positions himself in direct opposition to the current mayor, Ted Garcia (Pedro Pascal), who's enforcing strict mask mandates. But this isn't just a political standoff. It's personal. We learn that Joe's wife, Louise (Emma Stone), shares a complicated past with Ted. The campaign quickly spirals into a battleground of clashing ideologies. The film then takes an unexpected turn. When several murders are committed, it starts to enter Coen Brothers territory. Although, it plays more like imitation than homage. Still, there are things to admire. Joaquin Phoenix delivers a strong performance as a sheriff no one respects. Emma Stone is equally compelling, even with minimal dialogue. I was less impressed by Austin Butler, whose character felt underwritten and borderline cartoonish. Ari Aster has always excelled at turning ordinary situations into arenas of existential horror. But here, his usual flair for emotional tension is replaced by a kind of self-conscious quirk. The tone is inconsistent. It goes from deadpan humour to surface-level social commentary. It tries to make you laugh and shock you without fully committing to either pursuit. Visually, the film has its moments. Darius Khondji's camerawork impresses in a few sequences, but even that can't save the script's unevenness. Eddington follows a similar structure to that of Beau Is Afraid. Both begin in grounded reality and slowly unravel into exaggerated chaos. At least with Beau Is Afraid, the absurdity was unpredictable. With Eddington, the plot escalates, but never quite evolves. It doesn't land on any revelations. Unlike directors like Charlie Kaufman or Luis Buñuel, who use absurdity to interrogate meaning, Aster stops at the surface. This is ultimately what I found most frustrating about the film. It had so much potential. What could have been a vital cultural reckoning is reduced to a series of shallow jabs. In the end, Eddington is not a total disaster. It's a missed opportunity. Aster might have thought that his film is unmasking a nation in crisis, but it ends up revealing little more than a blank expression.
Yahoo
20-05-2025
- Entertainment
- Yahoo
Ari Aster, Lars Knudsen Unveil Square Peg Social to Help 'Nurture New Generation of Filmmakers'
Square Peg co-founders Lars Knudsen and Ari Aster (Hereditary, Midsommar), who just world premiered the star-studded Aster-directed Eddington at the Cannes Film Festival, have unveiled the inaugural Square Peg Social, 'a gathering for more seasoned filmmakers and industry professionals to help and nurture a new generation of filmmakers with unvarnished advice and mentorship in an informal and intimate setting.' They shared news of event, which will take place in Austin, Texas Oct. 23-26, during the first-ever 'The Shifter(s) Series' session, presented by Winston Baker and The Shift during the Cannes film festival and market in Cannes on Monday. More from The Hollywood Reporter 'Highest 2 Lowest': Spike Lee on Trump, Cannes Scandals and the Knicks' Championship Chances: "We're Going to Win!" UTA's Rich Klubeck Is Juggling Wes Anderson, Kelly Reichardt and Ethan Coen at Cannes Jafar Panahi: The World's Most Acclaimed Dissident Filmmaker The brainchild of Amy Knudsen, Square Peg Social will 'create a space where filmmakers can come together without the walls and barriers that too often exist within the film industry,' the creatives said. Knudsen and Aster will invite 30 of their closest and most trusted collaborators to create a one-to-one ratio of established industry professionals to attendees. The professionals will be a mix of directors 'who still vividly remember the passion and desperation of getting their first films made, as well as like-minded producers who won't shy away from sharing their own struggles and how they overcome them,' they said. Additionally, they will invite department heads, writer, authors and even agents, managers and lawyers. 'Ari and I see this as an opportunity to give back in a meaningful way and share the highs and lows of producing and directing — and most importantly, how to persevere in an industry that can feel tough to navigate — to 30 carefully curated rising directors and producers,' explained Lars Knudsen. Highlighted Aster: 'For us, this is all about helping and creating opportunities for producers and filmmakers at a time in their careers that is filled with uncertainty.' The mission of Square Peg Social is for attendees 'to leave the weekend with a sense of hope and excitement for what is to come in their careers, and for them to find mentorship and make meaningful connections with their peers.' Submission details for those who want to attend will be unveiled at a later date. Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
20-05-2025
- Entertainment
- Yahoo
Ari Aster, Lars Knudsen on Cannes Dreams, Nightmares and Surfing Their Momentum
Square Peg co-founders Lars Knudsen and Ari Aster (Hereditary, Midsommar) have been having a busy Cannes Film Festival. They world premiered the star-studded Aster-directed Eddington, their latest A24 movie on which the duo also functioned as producers, in competition on Friday. And on Monday, they were the stars of the first-ever 'The Shifter(s) Series' session, presented by Winston Baker and The Shift during the Cannes festival and market. Beyond unveiling the inaugural Square Peg Social, 'a gathering for more seasoned filmmakers and industry professionals to help and nurture a new generation of filmmakers with unvarnished advice and mentorship in an informal and intimate setting,' set to take place in Austin, Texas in October, the dynamic duo also discussed their Cannes experience and the momentum of their production outfit. More from The Hollywood Reporter Scarlett Johansson's 'Eleanor the Great' Draws Cheers, Tears at Cannes Premiere 'Eleanor the Great' Review: June Squibb Steadies Scarlett Johansson's Wobbly Directorial Debut John C. Reilly Is Buffalo Bill in Cannes Film 'Heads or Tails?,' a Deconstruction of Cowboys and Legends 'I've always dreamed of being here, and I'm very aware of all the films that have come here before,' Aster, known as a cinephile, shared on stage in Cannes about what premiering in the fest's competition lineup felt like. He then drew oohs and aahs when he shared: 'I have this chronic issue that I can't enjoy anything. So, I'm trying to remind myself that this is really great, which it is. It's a dream come true. I just had to make sure I keep it from turning into a nightmare.' The audience erupted in laughter and cheers when Aster answered the question of what he would do if he did not make movies. 'Whether or not I'm good at filmmaking, I don't know. But it's the only thing that I feel comfortable doing,' he said. 'Otherwise, I feel like I'm pretty bad at life. I have only doubts and worries, and anxieties about life. It's the one place where I can lose myself and feel that I'm standing on any sort of solid ground. It's ground that I'm building for myself. But it takes a long time. It's hard when you don't have that foundation yet, and then release the film, and the foundation goes away.' So how did he and Knudsen decide to form Square Peg together a few years ago? 'When Lars asked me if I wanted to start a production company with him, it was something that I hadn't ever thought about before,' Aster explained. 'But I liked the idea of doing it with him, also because I knew that I'm a director first, and as a producer, I would be more passive than he would be. But I knew that that meant that the people who we would be getting behind would be totally supported and in the same position that I'm in, which is a very lucky position.' Knudsen said the partnership and its output have proven successful, which has put Square Peg in a great position. 'We've been very fortunate that through our company and the films that we've done that we have been able to create momentum. I think for producing, momentum is everything,' he told the Cannes audience. 'You have to either create your own momentum, or momentum is created for you. But if you want to keep producing, momentum is key.' Knudsen also shared his experience as a producer. 'I've always been a firm believer that you got to make movies, and that sounds a lot easier to say than to do. But if you make one movie, it's easier to make the next one and just keep going. Right now, we're very fortunate that we are making a lot and we want to use that opportunity to continue to work with filmmakers who are first-time filmmakers, as well as more experienced filmmakers, to keep riding that wave.' How does Square Peg balance quantity and quality? 'It's very easy to say yes to projects. It's hard to say no,' Knudsen explained. 'We just have to be very good at only doing things that we are very passionate about, because everything takes years of your life from conception to release. It can be 10 years sometimes. And I don't like to give up on a project. So, you need a big slate of films in order to get films made, because not everything's going to get made.' Aster echoed that notion. 'Mostly, we do things that we all agree on and are excited about,' he emphasized. 'I don't want to say there's anything we're doing that any of us are lukewarm on, but if there's something that one of us is more passionate about than the others, that's great.' Knudsen added that Square Peg has been 'very deliberate about not being tempted by the lowest-hanging fruit.' The focus for the banner is always on approaching films differently, 'where you make these films that may not fit into the mainstream, but they do,' he explained. 'Hereditary was an eye opener for me [as an example of a movie] that actually can work really well for everyone. A lot of the films I did in the past, which I'm really, really proud of, went to festivals, but they weren't seen by people. But there's a way to do this, and I think that's what we're doing.' Best of The Hollywood Reporter 'The Goonies' Cast, Then and Now "A Nutless Monkey Could Do Your Job": From Abusive to Angst-Ridden, 16 Memorable Studio Exec Portrayals in Film and TV The 10 Best Baseball Movies of All Time, Ranked
Yahoo
20-05-2025
- Entertainment
- Yahoo
What scares Ari Aster these days? His answer is dividing Cannes, so we sat down with him
'The sun is my mortal enemy,' Ari Aster says, squinting as he sits on the sixth-floor rooftop terrace of Cannes' Palais des Festivals, where most of the screenings happen. It's an especially bright afternoon and we take refuge in the shade. Aster, the 38-year-old filmmaker of "Hereditary" and "Midsommar," wears an olive-colored suit and baseball cap. He's already a household name among horror fans and A24's discerning audiences, but the director is competing at Cannes for the first time with "Eddington," a paranoid thriller set in a New Mexican town riven by pandemic anxieties. Like a modern-day western, the sheriff (Joaquin Phoenix) spars with the mayor (Pedro Pascal) in tense showdowns while protests over the murder of George Floyd flare on street corners. Too many people cough without their masks on. Conspiracy nuts, mysterious drones and jurisdictional tensions shift the film into something more Pynchonesque and surreal. In advance of the movie's July 18 release, "Eddington" has become a proper flash point at Cannes, dividing opinion starkly. Like Aster's prior feature, 2023's "Beau Is Afraid," it continues his expansion into wider psychological territory, signaling a heretofore unexpressed political dimension spurred by recent events, as well as an impulse to explore a different kind of American fear. We sat down with him on Sunday to discuss the movie and its reception. I remember what it was like in 2018 at Sundance with 'Hereditary' and being a part of that first midnight audience where it felt like something special was happening. How does this time feel compared with that? It feels the same. It's just nerve-wracking and you feel totally vulnerable and exposed. But it's exciting. It's always been a dream to premiere a film in Cannes. Have you ever been to Cannes before? No. So this must feel like living out that dream. How do you think it went on Friday? I don't know. How do you feel it went? [Laughs] I knew you were going to turn it around. That's what everybody asks me. Everybody comes up saying [makes a pity face], 'How are you feeling? How do you think it went?' And it's like, I am the least objective person here. I made the film. I know you've heard about those legendary Cannes premieres where audiences have extreme reactions and it feels like the debut of 'The Rite of Spring.' Some people are loving it, some people are hating it. Those are the best ones, aren't they? Oh, yeah. But again, I don't really have a picture of what the response is. Do you read your reviews? I've been staying away while I do press and talk to people. So I can speak to the film. Makes sense. I felt great love in the room for Joaquin Phoenix, who was rubbing your shoulder during the ovation. Have you talked to the cast and how they think it went, or were they just having a good time? I think that they're all really proud of the film. That's what I know and it's been nice to be here with them. In the context of your four features, "Hereditary," "Midsommar," "Beau Is Afraid" and now "Eddington," how easy was 'Eddington' to make? They're all hard. We're always trying to stretch our resources as far as they can go, and so they've all been just about equally difficult, in different ways. Is it fair to say that your films have changed since 'Hereditary' and 'Midsommar' and now they're more accommodating of a larger swath of sociopolitical material? I am just following my impulses so I'm not thinking in that way. There's very little strategy going on. It's just: What am I interested in? And when I started writing, because I was in a real state of fear and anxiety about what was happening in the country and what was happening in the world, and I wanted to make a film about what it was feeling like. This was circa what, 2020? It was in June 2020 that I started writing it. I wanted to make a film about what it feels like to live in a world where nobody agrees about what is happening. You mean no one agrees what is happening in the sense that we can't even agree on the facts? Yes. There's this social force that has been at the center of mass liberal democracies for a very long time, which is this agreed-upon version of what is real. And of course, we could all argue and have our own opinions, but we all fundamentally agreed about what we were arguing about. And that is something that has been going away. It's been happening for the last 20-something years. But COVID, for me, felt like when the last link was cut, this old idea of democracy, that it could be sort of a countervailing force against power, tech, finance. That's gone now completely. And at that moment it felt like I was kind of in a panic about it. I'm sure that I am probably not alone. And so I wanted to make a film about the environment, not about me. The film is very much about the gulf between politics and policy. Politics is public relations. Policy is things that are actually happening. Real things are happening very quickly, moving very quickly. I think of 'Eddington' as very much a horror film. It's the horror of free-floating political anxiety. That's what's scaring you right now. And we don't have any kind of control over it. We have no control and we feel totally powerless and we're being led by people who do not believe in the future. So we're living in an atmosphere of total despair. Read more: At this year's Cannes, bleak is the new black and miserable endings are très chic During the lockdown, I was just sitting on my phone doom-scrolling. Is that what you were doing? Of course. There was a lot of great energy behind the internet, this idea of: It's going to bring people together, it's going to connect them. But of course then finance got involved, as it always does, and whatever that was curdled and was put on another track. It used to be something we went to. You went to your computer at home, you would maybe go to your email. Everything took forever to load. And then with these phones, we began living in cyberspace, so we are living in the internet. It's owned us, it's consumed us and we don't see it. The really insidious thing about our culture and about this moment is that it's scary and it's dangerous and it's catastrophic and it's absurd and ridiculous and stupid and impossible to take seriously. Did that "ridiculous and stupid" part lead you aesthetically to make something that was an extremely dark comedy? I think 'Eddington' sometimes plays like a comedy. Well, I mean there's something farcical going on. I wanted to make a good western too, and westerns are about the country and the mythology of America and the romance of America. They're very sentimental. I'm interested in the tension between the idealism of America and the reality of it. You have your western elements in there, your Gunther's Pistol Palace and a heavily armed endgame that often recalls 'No Country for Old Men." You've got Joe, who's a sheriff, who loves his wife and cares about his community. And he's 50 years old, so he grew up with those '90s action movies and, at the end, he gets to live through one. Let's step backward for a second about where you were and what you were doing around the time you started writing this. You were finishing up 'Beau Is Afraid,' right? What was your life like then? You were freaking out and watching the news and starting to write a script. What was that process like for you? I was in New Mexico at the time. I was living in New York in a tiny apartment, but then I had to come back to New Mexico. There was a COVID scare in my family and I wanted to be near family. I was there for a couple months and just wanted to make a film about what the world felt like, what the country felt like. Were you worried about your own health and safety during that time? Of course. I'm a hyper-neurotic Jew. I'm always worried about my health. And also the breakdown of truth. What were the reactions when you first started sharing your script with the people who ended up in your cast? What was Joaquin's reaction like? I just remember that he really took to the character and loved Joe and wanted to play him, and that was exciting to me. I loved working with him on 'Beau' and I gave him the script hoping that he would want to do it. They all responded really quickly and jumped on. There was just a general excitement and a feeling for the project. I had a friendship with Emily [Emma Stone, whom Aster calls by her birth name] already and now we're all friends. I really love them as actors and as people. It was a pretty fluid, nice process. Read more: Cannes: A 'Scheme' hatched just for Benicio del Toro: 'It's a hell of a gift' I haven't seen many significant movies expressly about the pandemic yet. Did it feel like you were breaking new ground? I don't think that way, but I was wanting to see some reflection on what was happening. Even in the seven years since 'Hereditary,' do you feel like the business has changed? Yeah, it is changing. I mean, everything feels like it's changing. I think about [Marshall] McLuhan and how we're in a stage right now where we're moving from one medium to another. The internet has been the prominent, prevailing, dominant medium, and that's changed the landscape of everything, and we're moving towards something new. We don't know what's coming with AI. It's also why we're so nostalgic now about film and 70mm presentations. Do you ever feel like you got into this business at the last-possible minute? Definitely. I feel very fortunate that I'm able to make the films I want to make and I feel lucky to have been able to make this film. There's a lot of room in 'Eddington' for any kind of a viewer to find a mirror of themselves and also be challenged. It doesn't preach to the converted. Was that an intent of yours? [Long pause] Sorry, I'm just thinking. I'm just starting to talk about the film. I guess I'm trying to make a film about how we're all actually in the same situation and how similar we are. Which may be hard to see and I'm not a sociologist. But it was important to me to make a film about the environment. I was asked recently, Do you have any hope? And I think the answer to that is that I do have hope, but I don't have confidence. It's easy to be cynical. But I do see that if there is any hope, we have to reengage with each other. And for me, it was important to not judge any of these characters. I'm not judging them. I'm not trying to judge them. I love that you have a partner in A24 that is basically letting you go where you need to go as an artist. They've been very supportive. It's great because I've been able to make these films without compromise. Do you have an idea for your next one? I've got a few ideas. I'm deciding between three. You can't give me a taste of anything? Not yet, no. They're all different genres and I'm trying to decide what's right. Let's hope we survive to that point. How are you personally, apart from movies? I'm very worried. I'm very worried and I am really sad about where things are. And otherwise there needs to be another idea. Something new has to happen. You mean like a new political paradigm or something? Yeah. The system we're in is a response to the last system that failed. And the only answer, the only alternative I'm hearing is to go back to that old system. I'll just say even just the idea of a collective is just a harder thing to imagine. How can that happen? How do we ever come together? Can there be any sort of countervailing force to power? I feel increasingly powerless and impotent. And despairing. Ari, it's a beautiful day. It's hard to be completely cynical about the world when you're at Cannes and it's sunny. Even in just 24 hours, 'Eddington' has become a conversation film, debated and discussed. Doesn't it thrill you that you have one of those kind of movies? That's what this is supposed to be. And you want people to be talking about it and arguing about it. And I hope it is something that you have to wrestle with and think about. Sign up for Indie Focus, a weekly newsletter about movies and what's going on in the wild world of cinema. This story originally appeared in Los Angeles Times.
