As Freud hypothesizes, these images are connected to repressed feelings buried within our subconscious and rise to the surface only when the horrors on-screen manifest themselves into recognizable images that are palatable to our conscious mind– triggering something in our unconscious. What Freud discusses in his work can (sort of) explain our attraction to certain aspects of horror media and why we return so often or feel a connection to things that terrify us. The Uncanny is a concept introduced by German psychiatrist Ernst Jentsch– though it most notably would become popularized and further elaborated upon by the world-renowned psychoanalyst Sigmund Freud in an essay of his titled Das Unheimliche. Instead, I’d like to think that Hereditary’s continued success and reverence are related to how much the film resonated and connected on a deeper, unconscious level.Īnd that level has something to do with the uncanny. The extent of the success and lasting importance of Aster’s film – even a mere five years later, doesn’t lie solely in the hands of the impact on the genre as a whole. Even as recently as last year, a moderately budgeted wide studio horror release, Smile, tried to get in on the fun, with its tone and stylistic choices seemingly borrowing from what is slowly becoming the norm. And in the time since its release, there’ve been more films that echo the sentiments Aster had implemented in this film. Hereditary felt like a defining statement on where horror had been leading up to, with the previous films of the 2010s and their grief-based indie horror (a movement I’ve written about before).
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Fans appreciated the film’s commitment to subverting tired tropes of horror and its ability to instill genuine terror that wasn’t the result of a trite series of ineffective jump scares or unappealing CG creatures/demons/etc. It felt like a much-needed breath of fresh air for horror, as it seemed to reignite something. On June 8th, 2018, Ari Aster’s debut feature film, Hereditary hit theaters and, much like the head of a young girl in anaphylactic shock to a telephone pole, made a massive impact (sorry) with audiences and fans of the genre. I can’t help but feel like the shift has something to do with a film that came out five Junes ago. It geared toward a new direction in storytelling and filmmaking that set the tone for what was ahead. Nevertheless, looking back now – it feels as though horror was at the precipice of a massive shift. There’s a new addition to the Insidious franchise out now, and. Now, just as we’re barely halfway through 2023, horror fans are eager to witness the next chapter in The Exorcist franchise, spearheaded by the Pineapple Express folks. Films like Mandy and Luca Guadagino’s Suspiria were on the horizon. We’d finally gotten a sequel to The Strangers, though horror had been cycling through its latest in a seemingly long series of those Insidious flicks.
Horror fans were eager to witness the next chapter in the beloved Halloween saga, spearheaded by the Pineapple Express folks. The world was certainly in a much different place. 2018 honestly feels like a whole lifetime ago.
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