Youre not ready for Hereditary. Even the trailers for A24s newest horror movie are the kind you have to watch between your fingers—nightmarish montages peppered with dead birds, creepy reflections, and Toni Collettes screaming face. The film itself lives up to that advertising: its one of the most unsettling movies in years, a sinister concoction of grief, mental illness, and full-blown supernatural terror.
The films marketing has also done an unusually good job of masking what Hereditary is actually about. (Thats a compliment.) It starts off as one kind of movie, and then becomes something much more chilling. “There was certainly a conscious decision to separate the film into two halves that are also completely inextricable from each other, where the two parts actually are the same movie,” director Ari Aster said in a recent interview. “I wanted to make a film that served as a serious meditation on grief and trauma. It begins as a family tragedy, and then continues down that path, but gradually curdles into a full-bore nightmare—in the same way that life can really feel like a nightmare, like everything is falling apart.”
The movie begins with the death of a familys overbearing matriarch, who had been estranged from her daughter Annie (played with visceral terror by Collette, whose face-distorting screams you can feel in your bones) until she and her husband (Gabriel Byrne) took her in in her old age. Asters favorite sequence in the film is perhaps its most devastating; it comes less than an hour in, and involves the young actors who play Annies children, Alex Wolff and newcomer Milly Shapiro.
Shapiro, in particular, is probably the scariest child we will see on screen this year; she plays the part of strange, outcast Charlie with a sullen stillness occasionally broken by a distinctive tongue click. The role was particularly tricky to cast: “I despaired of ever finding her,” Aster said, “just cause I knew the chances were slim that I would find somebody who would be right. And I remember when she came into the audition I was immediately so relieved—and then so excited.”
Wolff, who plays Charlies brother, Peter, had the equally difficult task of faithfully portraying a young person suffering from post-traumatic stress. “Youre asking a teenage boy to play P.T.S.D., and theres nothing worse than somebody playing P.T.S.D. Its just embarrassing,” Aster said. “I needed somebody who could really go there, and thats a lot to ask of a kid that age. And he really just ran at that part kamikaze-style.”
The two carry what is perhaps Hereditarys darkest moment—and if you want to go into this movie knowing almost nothing about it, it would be a good idea to skip to the next paragraph. Near the beginning of the film, Peter is rushing Charlie to a hospital after she has an allergic reaction at a party. Shes leaning out of the car window, trying to get some air, when Peter suddenly swerves—and shes decapitated by a telephone pole. Instead of telling anyone what happened, Peter drives home in a daze, leaves Charlies body in the car, and goes up to bed. Its only the next morning, when her mother goes out looking for her, that anyone else discovers Charlie is dead. In that moment, instead of training the camera on Annie—shrieking in despair and grief—all we see is Peters expressionless face.
“Thats probably my favorite sequence in the film,” Aster said, “everything thats happening around those 15 minutes.”
Hereditarys ace casting also extends to its supporting players, particularly Ann Dowd—known best for previously terrorizing Justin Theroux in HBOs The Leftovers, and currently terrorizing Elisabeth Moss in Hulus The Handmaids Tale. Dowd appears in a particularly distressing role—a grieving mother who convinces Annie that her daughters ghost can speak to her—that plays to the actresss merciless strengths, even though in real life, “she also happens to be the loveliest woman on Earth,” Aster said with a laugh. “Its fun to be playing with that, too, because in the film shes conspicuously warm and nice. Its always hard to believe when someone has such deep reserves of empathy and affection.” Sometimes, it can be a red flag—especially in a horror movie.
With Hereditary, Aster has created a film almost primeval in the terror it inspires—one that might inspire more than a few viewers to peer suspiciously into the dark corners of their rooms before going to sleep. “In true melodramatic fashion, I wanted a film that really honored the feeling of these people who are really suffering,” Aster said. “Where the fears that are being exploited and investigated are impossible to remedy. And they arent irrational. So, you know, a fear of death, or a fear of abandonment, or a fear of being responsible for something horrible that happens to somebody in your life that you care about, and having to live with the guilt of that. I knew if I wanted to make a horror film, I wanted to make one that really got to people. And I dont know how to do that but to think about what scares me.”
But even though Aster is clearly a pro at creating terrifying and suspenseful tableaus, he didnt intend his first feature to be a horror movie. “Id written, like, 10 feature scripts, and none of them were horror films,” he said. Eventually, he changed tactics for an eminently practical reason: “I just figured that a horror film would be easier to finance. Thats where it started. I mean, it started from a cynical place, but then from there became something else.”
Get Vanity Fairs HWD NewsletterSign up for essential industry and award news from Hollywood.
The Cabinet of Dr. Caligari
Because nothing says horror like a 1920 German Expressionist film. This classic about a murderous hypnotist is inspiring now for its groundbreaking cinematography and sheer artfulness, more of a gorgeous film noir than a real horror story.Photo: From Everett Collection.
Dracula
The original cinematic adaptation of Bram Stokers novel is a must-see for film fans. Its the mother of all vampire movies, featuring an indelible performance by Bela Lugosi and some really lush cinematography. (This scene alone of Draculas wives awakening is a thing of pure beauty.) Plus, its from the 1930s—theres no way itll scare you.Photo: From Everett Collection.
Psycho
Ah, yet another classic that all film fans should have in their back pocket. The seminal Alfred Hitchcock thriller shocked audiences in 1960 with its jarring shower scene and ultimate plot twist, but it wont horrify modern viewers the same way. Hitchcock was more about suspense than jump scares, even if Pyscho still gives you a healthy bout of chills.Photo: From Paramount/Kobal/REX/Shutterstock.
Carrie
Speaking of old movies that arent scary-scary by modern standards, Brian De Palmas adaptation of this Stephen King novel about a bullied high-school girl with a zealous mother is yet another standard-bearer that scared people at the time of its release. Now its got a sort of hokey 70s aesthetic that wont spook viewers more accustomed to sophisticated special effects.Photo: From United Artists/Kobal/REX/Shutterstock.
Paranorman
This stop-motion kids comedy is a joyful story about a boy who sees dead people. (For the scary version, go stream The Sixth Sense.) Its more of a delightful coming-of-age tale with genuine laughs, and some spooky animated creatures for good measure.Photo: From Focus Features/Everett Collection.
What We Do in the Shadows
Much like Shaun, this 2014 mockumentary flips a genre on its head, poking fun at the wild and sexy lore of vampires. Written and directed by New Zealands finest, Jemaine Clement and Taika Waititi, who also star, the film is about a trio of vampires just living everyday life—splitting house chores, trying to get invited into nightclubs—which takes a turn when they have to take in a new 20-year-old vampire.Photo: From Moviestore/REX/Shutterstock.
Get Out
Make no mistake: Jordan Peeles excellent debut feature is a horror movie through and through, with highly unsettling twists and turns. But the horror doesnt rely on twisted jump scares or unsightly violence; instead, its baked into the films brilliant social commentary on modern racism. And if thats not enough, take it from another wimp—this is a horror hit you can candle.Photo: From Universal/Everett Collection.PreviousNext
The Cabinet of Dr. Caligari
Because nothing says horror like a 1920 German Expressionist film. This classic about a murderous hypnotist is inspiring now for its groundbreaking cinematography and sheer artfulness, more of a gorgeous film noir than a real horror story.From Everett Collection.
Dracula
The original cinematic adaptation of Bram Stokers novel is a must-see for film fans. Its the mother of all vampire movies, featuring an indelible performance by Bela Lugosi and some really lush cinematography. (This scene alone of Draculas wives awakening is a thing of pure beauty.) Plus, its from the 1930s—theres no way itll scare you.From Everett Collection.
Psycho
Ah, yet another classic that all film fans should have in their back pocket. The seminal Alfred Hitchcock thriller shocked audiences in 1960 with its jarring shower scene and ultimate plot twist, but it wont horrify modern viewers the same way. Hitchcock was more about suspense than jump scares, even if Pyscho still gives you a healthy bout of chills.From Paramount/Kobal/REX/Shutterstock.
Carrie
Speaking of old movies that arent scary-scary by modern standards, Brian De Palmas adaptation of this Stephen King novel about a bullied high-school girl with a zealous mother is yet another standard-bearer that scared people at the time of its release. Now its got a sort of hokey 70s aesthetic that wont spook viewers more accustomed to sophisticated special effects.From United Artists/Kobal/REX/Shutterstock.
Poltergeist
Like many horror movies of decades past, Poltergeist, too, isnt as scary as it once. But it still has some solid scary moments—do yourself a favor and squeeze your eyes shut when Martin Casella grabs his face in the bathroom scene—so save it for when youre at your bravest.From MGM/Everett Collection.
Gremlins
The kitschy 1984 horror-comedy is basically about Furbies from hell. Though its geared toward a younger audience, theres some violence that kicked it up to a PG-13 viewing—but its still, at the end of the day, a fun little movie about people fighting goofy puppets.From Warner Bros/Kobal/REX/Shutterstock.
The Lost Boys
At the heart of this vampire saga is an emo journey about two dorky teens (Corey Feldman and Corey Haim, the 80s dream duo) fending off a pack of too-cool vampires trying to turn one of their older brothers into a monster. Theres definitely some scary imagery throughout—mind tricks in which the head vampire (an ice-blond Kiefer Sutherland) turns rice into maggots, bloody feeding frenzies—but its youthful spirit, style, and comedy far outweighs the horror elements.From Warner Bros/Kobal/REX/Shutterstock.
Silence of the Lambs
Silence is a perfect psychological thriller, a dive into the life of a green F.B.I. agent (Jodie Foster) who has to interview a captured cannibalistic serial murderer (Anthony Hopkins), then use that information to catch another killer on the loose. The Jonathan Demme classic is disturbing and suspenseful, but also so elegantly told that it won best picture at the 1992 Oscars. Certified wimps can totally handle this prestige project.From Orion Pictures Corp/Everett Collection.
Zombieland
Speaking of zombie fare thats more funny than scary, this 2009 adventure tale puts together a ragtag group of survivors in a world possessed by the walking dead. Its like a spunky how-to guide for surviving a zombie apocalypse. And to prove its comedic lean, director Ruben Fleischer tapped a very famous comedian to come in for a perfect cameo—which we wont spoil for any newcomers.From Columbia Pictures/Everett Collection.
Shaun of the Dead
Edgar Wrights kooky 2004 horror-comedy takes the piss out of the zombie genre. Be slightly warned: theres a lot of blood and braaaains and hideous violence, but its so smart and jokey that the dread is balanced out.From Rogue Pictures/Everett Collection.
Paranorman
This stop-motion kids comedy is a joyful story about a boy who sees dead people. (For the scary version, go stream The Sixth Sense.) Its more of a delightful coming-of-age tale with genuine laughs, and some spooky animated creatures for good measure.From Focus Features/Everett Collection.
What We Do in the Shadows
Much like Shaun, this 2014 mockumentary flips a genre on its head, poking fun at the wild and sexy lore of vampires. Written and directed by New Zealands finest, Jemaine Clement and Taika Waititi, who also star, the film is about a trio of vampires just living everyday life—splitting house chores, trying to get invited into nightclubs—which takes a turn when they have to take in a new 20-year-old vampire.From Moviestore/REX/Shutterstock.
Get Out
Make no mistake: Jordan Peeles excellent debut feature is a horror movie through and through, with highly unsettling twists and turns. But the horror doesnt rely on twisted jump scares or unsightly violence; instead, its baked into the films brilliant social commentary on modern racism. And if thats not enough, take it from another wimp—this is a horror hit you can candle.From Universal/Everett Collection.
[contf] [contfnew] 
Vanity Fair
[contfnewc] [contfnewc]
