Top 5 A24 Horror Films

It would be fair to say that independent film company A24 is graciously upholding the consensus that their widely popular films are distinctive from the usual ‘Blockbuster’ types. A24’s creative and niche aesthetics can be seen across all genres, with their most recent successes including the critically lauded Uncut Gems, First Cow and The Farewell, each of which made strong cases to become award-winning fare at awards shows all over the world.

Generating a somewhat fresh and new wave of scares, the topics approached in A24’s horror films in particular are often disturbing, other-worldly and exaggerated, yet the films’ engaging narratives are never sacrificed. After taking a journey through the company’s back catalogue and judging each release by the quality of the art and the impact said art has had on wider cinema, here are the Top 5 A24 Horror Films released to date; a fantastic selection to introduce you to the wondrous world of A24 filmmaking.

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5. In Fabric (2018)

In at number five is Peter Strickland’s In Fabric, noted by Mark Kermode as a mix of ‘intoxicating nostalgia and horror-inflected twisted comedy’. This 2018 flick is mostly notable for its spellbinding and stylish form of horror, presenting the torments that a haunted red dress has on its unsuspecting owners. The psychedelic melodrama that encapsulates In Fabric provides a bluntly sinister impression of a consumerist lifestyle. It has a sense of Stephen King’s “Needful Things” about it – the flattering red dress is offered with a ‘Buy Now – Pay Later’ kind of threat, placing an eerily captivating shroud above the treasure troves of department stores and secondhand shops.

4. The Witch (2015)

In his feature film directorial debut, Robert Eggers (The Lighthouse) presents an eerily monstrous period horror in the form of The Witch, starring Anya Taylor-Joy, Ralph Ineson and Kate Dickie as members of a disturbed Puritan family in 17th century New England. The family’s banishment from their colony initiates a series of supernatural occurrences resulting in the family’s demise and the growing dominance of Thomasin (Taylor-Joy) as the eldest of the five children. Not only is this a distressing watch, but the attention accorded to the film’s darkened tone almost gives it an air of film noir; heightened by the intense chemistry between Katherine (Dickie) and Thomasin in their mother-daughter clash of the ‘monstrous feminine’.

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