It would seem like there’s a new horror film out every week but for that genre quantity doesn’t equal quality. However, being made on low budgets allows for creative freedom which can reach a large audience and provide an opportunity for exciting voices to shine through. Longlegs is one of those films.

Longlegs combines the serial killer thriller with the occult to disquieting effect. Over the past 30 years, there have been a series of whole family murders which would appear disconnected aside from the fact they have all been penned by a serial killer who goes by Longlegs. FBI Agent Lee Parker, who has semi-psychic abilities, is assigned to finally solving this puzzling case, which alarmingly seems to connect with her own life.

Having such a demanding job requires looking at tragedy and the darkest sides of humanity through a cold and objective lens and therefore acting desensitised to the worst sides of humanity. Lee is a very reserved and calm character, confident and determined to tackle this mystery but the growing revelation of how it links to her past makes it personal and so brings out the emotion in her, as we see through Maika Monroe’s incredible performance as our human guide through this descent into madness.

This is sharply contrasted with Nicolas Cage’s terrifying performance as Longlegs portraying him as a satanical Joker and going extreme Nicolas Cage. With alarmingly pale skin paint, he looks the part for a monster and his disjointed, crazed manner of speaking as he recites his religion makes for something so unsettling whenever he’s on screen.

The cinematography is astonishing where its major theme became clear to me through its clever use of tracking shots where it initially follows Lee from behind as she approaches a scene but after a particular incident it instead follows her from in front as the impersonal becomes personal. It also depicts bleak environments and makes them feel so cinematic both in its ultra-wide shots and its 4:3 claustrophobic flashbacks.  It’s minimalist sets with stark lights add to the atmosphere. Alongside startingly and unnerving sound design, it all creates such a creepy atmosphere dripping with dread.

Longlegs is an absolute must see. While it does have some jump scares, it’s far more built off tension, dread and sheer momentum as its mystery unfolds and reveals dark and unexpected revelations. Even knowing the answers, with this being my second watch, it left me spellbound and breathless- a sign of not just a great horror movie but a great piece of cinema that’s grip only tightens and further disturbs the more it progresses.

Harry Denton

Longlegs is still showing this Sunday to Wednesday

Screening until 28th July.

For those on the pulse of recent indies, defiant and hopeful films about trans people as well as films set in Turkey are on the rise. “Crossing” crosses both of those together.

The narrative is set in motion when Lia, a retired teacher, embarks to Istanbul to find her long lost transgender niece- Tekla- when her neighbour Achi speaks of where she could be. Achi joins Lia on this search as an interpreter- after all they don’t speak Georgian in Turkey. Lia hopes to bring back this missing piece of her family whereas Achi, who’s only in his twenties, seeks to kick-start his life there. In Istanbul, they meet Ervin, a trans lawyer and activist. A pair of impoverished children who hustle to make some money are also a frequent presence.

In the journey of finding lost family, found family emerges along the way as Lia learns to connect with the people around her. I mention all these characters as they all struggle to make ends meet and, more importantly, all are haunted by the absence of a family member. This is a celebration of breaking down barriers and being empathetic towards other people, even if they aren’t family.

It would be easy to focus on the difficulties and discrimination faced on being trans in Georgia and Turkey but with the inclusion of Ervin, it gives hope and demonstrates that a lot more is possible than sex work for trans runaways like Tekla.

Levan Atkin previously made an acclaimed film titled “And Then We Danced” (which is admittedly all I know about that but that should soon change). I love a film with a great dance scene, and this has three which provide opportunity to bask in the roaring culture in Istanbul and also to provide emotional release for both the characters and the audience.

The performances are excellent all around but the one which particularly impressed me was Mzia Arabuli. Lia is a stoic character- one in a state of guilt, obligation and fatigue as she searches for her niece. This near-mourning attitude is signified by the black coat she always wears. She is quite a cold presence, at least at first, but we see her emotion through subtle but effective facial expressions where we can tell how she fees deep down. It’s a quiet performance so layered that it helps immerse you in the character of Lia.

It’s a beautiful film to look at, capturing Istanbul’s grand scale and also capturing the subtle intricacies of its characters. The score is also great, especially when it comes to the dancing.

In summary, “Crossing” treats its dark subject matter of estranged and missing families and societal and financial struggles sadly more so for the marginalised with significant empathy and ultimately hope in a vibrant and compelling drama deserving to be seen.

Harry Denton