Horror Underground

After having audience attendees leave during the screening and boo the film after it ended, to call the Cannes Film Festival run of Nicolas Winding Refn’s The Neon Demon tenuous would be an understatement, especially given the similar reaction to his previous film Only God Forgives. Almost as a point of contrarianism to the attention his film Drive was given, Refn seems to be climbing further and further into the deepest reaches of art house expressionism and The Neon Demon appears to be the culmination of that intended apex. Critics have been chastising his work for being pretentious, masculine, and dull, but this hasn’t faded his process, on the contrary, it has further motivated him to explore a neo-Kubrick cinematic style that is only enjoyable by the hardened cinematic enthusiast, a style which forces the viewer to defragment a puzzle instead of seeking entertainment. While I cannot…

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