After you’ve captured the entire economy and all the political machinery of a country—it doesn’t matter which, but let’s say Brazil—and you’ve replaced the police with private security, and you’ve brought about massive unemployment, and you’re wondering what else there is for you to do, and you conclude that the only logical answer is to butcher and eat the lower classes, you might belong in The Cannibal Club (2018) by writer/director Guto Parente.
Dr. Seth Brundle (Jeff Goldblum) breaks up with his girlfriend Ronnie (Geena Davis). Directed by David Cronenberg.
Some traditional cultures shun photography, fearing that the camera can capture the soul. Maybe these cultures are onto something, because that’s exactly what happens in Isa Mazzei and Daniel Goldhaber’s Cam (2018).
In Starfish (2018), we learn that writer/director A. T. White would like to negate us Cthulhu-style, but he’d make sure to do it in our most flattering light. He’s the PR advance team for the Great Old Ones. Lovecraft, take note. You didn’t think of that.
A demonic possession jumps from person to person to catch up with its “girlfriend” Luz (Luana Velis), a blasphemous Chilean cab driver and talented amateur full-trance medium who needs serious work on her magic circle technique. The movie is Luz (2018). You don’t want to miss it.
Paris, 1979. A masked psychopath stalks and murders the associates of a shoestring gay-porn production company. It’s part giallo and part smut movie with a strain of what I’m going to call magic realism, brought to you by co-writer/director Yann Gonzalez and released in this country as Knife + Heart (2018), a French-language pseudo-horror that made a stab for the Palme, which we don’t get to say too often around here.