A big reason why Oz Perkins fits all the prerequisites for the Auteur theory is that he makes no films, only out of love for the medium, and certainly not just a product to sell or work for a salary check. Each of his films is also personally because he uses the horror genre to explore topics and concepts that could be too rough and too annoying for most audiences in a non-genetic environment. “The Blackcoat’s Daughter” is ultimately a film about loss, which Perkins unfortunately suffered from both parents. “I am the pretty thing …” is a film that Perkins made about his attempts to combine with his late father, as he revealed in an episode of the podcast “Post Mortem with Mick Garris”. “Gretel & Hansel” – the only film that Perkins made that he did not write the script – affects a few children who are left by their parents. “Longlegs” goes even further and tells a story of a woman who is revealed by her parents, where her mother’s sins are visited on her ten times.
Perkins clearly has many unresolved feelings in relation to parenthood, the pressure on children and parents who either avoid their responsibility or somehow undermine them. A large part of this topic must be due to Perkins’ personal life and the relationship with his late parents. Together with the bizarre nature of the offense of both: Anthony Perkins from a HIV/AIDS You are aware of you, you can see your influence on all of his films, especially “The Affe”. In this film alone there is a boy who is obsessed with the legacy of his late father, another boy who desperately tries to connect with his distant father, the twin boy made the early loss of her beloved mother and at the end an overcoming From airplanes full of passengers who fall from the sky (an element that has far too much response for all of us to write, not just for the director).
If all of this has a silver strip, it can indeed work that Perkins uses its work as therapy. Of course there is no way to know that I can imply a parasocial understanding of the man’s private life. However, it is strange that “The Affe” is such a tonal selection for the filmmaker, together with the fact that it is the first film in which he has occupied himself as an actor, and his figure is the only father figure in the film that we see, the suffering of a suffering. cruel death. It feels like Percins is enough of an artist and a person to realize that he cannot escape to show himself with a finger on himself what is usually a good indicator for someone who is is well adjusted. Now that Perkins laughs and cries, Melpomene and Thalia, it is exciting to anticipate which new aspects of these topics, horror and cinema will explore next.
