An Elijah Wood-led serial killer film will perk up the ears at a quick rate — but how about one that’s almost entirely in first-person? Since it was announced, I’ve been trying to figure out how and, above all else, why Maniac — a remake of the slimy ’80s horror feature that went by the same name — would implement a technique that feels like a gimmick 99% of the time. It’s not simple enough to conduct simply because it might look “cool,” nor are you guaranteed an interesting result when trying it out in the first place.
The Cannes site (via FirstShowing) has brought our first trailer, and while I still can’t determine if it was the best course of action, I’m still impressed by the dirty atmosphere and seemingly brutal nature of Franck Khalfoun‘s film. Wood, in the meantime, is clearly channeling his work in Sin City — a choice I consider to be very, very wise — and, if there’s more of what’s on display here, Maniac could surprise a lot of people when the film eventually hits. If anything, a quick preview leaves me even more curious and uncertain as to what will come to bear; maybe that’s for the best.
Watch it below:
Just when the streets seemed safe, a serial killer with a fetish for scalps is back and on the hunt. Frank is the withdrawn owner of a mannequin store, but his life changes when young artist Anna appears asking for his help with her new exhibition. As their friendship develops and Frank’s obsession escalates, it becomes clear that she has unleashed a long-repressed compulsion to stalk and kill.
Also starring Nora Arnezeder and written by Alexandre Aja, C.A. Rosenberg, and Grégory Levasseur, Maniac should hit later this year, after a premiere at Cannes this month.
Does this seem to be a worthy remake of the ’80s horror film?
BAMCinématek A new series entitled “Black & White ’Scope: American Cinema” commences this weekend, and, as for the series itself, with a Wilder double-bill on Friday: The Apartment and One, Two, Three. Manhattan screens on Saturday, while The Hustler can be seen this Sunday. Museum of the Moving Image The Gordon Willis tribute concludes with […]
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