“A Surreal Collision of Realism and Madness: How Alireza Khatami’s ‘The Things You Kill’ Brings Together the Unlikely Spirits of David Lynch and Abbas Kiarostami” The Sundance Film Festival, a mecca for independent cinema, has long been a platform for bold and innovative storytelling. This year, one film has managed to capture attention with its intriguing blend of genres and styles, drawing parallels with two of the most enigmatic filmmakers of our time: David Lynch and Abbas Kiarostami. Iranian director Alireza Khatami’s latest thriller, “The Things You Kill,” has left audiences and critics alike pondering its unique fusion of psychological suspense, philosophical introspection, and cinematic experimentation. In an exclusive interview, Khatami reveals the inspirations behind his mesmerizing film, which promises to be one of the most talked-about releases of the year.
The Birth of a Classic
William Friedkin’s journey to creating The Exorcist, a horror classic that has captivated audiences for decades, began long before he set foot on a film set. The director’s early experiences, shaped by his childhood and formative years, played a significant role in shaping his vision for the film.
A Childhood Encounter
Friedkin’s love affair with cinema began at a young age, when his mother took him to see Clifford Odet’s None But the Lonely Heart (1944) in a one-room apartment in Chicago. The film, which told the story of a lowly postboy struggling to make ends meet, left a lasting impression on the young Friedkin. He wanted to learn more about the world of cinema, and this encounter set him on a path that would eventually lead him to create a horror classic.
The film that truly propelled Friedkin into a career in film, however, was Orson Welles’ Citizen Kane. Released in 1941, the film’s innovative storytelling, cinematography, and direction left Friedkin in awe. He recalls being captivated by the film’s use of deep focus, low-angle shots, and the innovative sound design that created a sense of depth and texture.
The Book that Inspired the Film
It was William Peter Blatty’s novel, The Exorcist, that sparked Friedkin’s interest in creating a film about demonic possession. The book, published in 1971, tells the story of a young girl, Regan, who becomes possessed by a demon and the two priests, Father Merrin and Father Karras, who attempt to exorcise it. Friedkin was drawn to the novel’s nuanced exploration of faith, doubt, and the supernatural.
The novel’s fractured narrative, with its use of flashbacks and non-linear storytelling, presented a unique challenge for Friedkin. He wanted to create a straightforward, realist story, similar to the book, but with a more cohesive narrative structure. This single-minded approach would ultimately shape the film’s tone and style, creating a sense of dread and tension that has become synonymous with The Exorcist.
The Single-Minded Director
Friedkin’s unwavering commitment to his artistic vision is well-documented. He has often spoken about his reliance on instinct and spontaneity, rather than perfection. This approach allowed him to create a film that was both haunting and thought-provoking, with a narrative that was both linear and non-linear.
Friedkin’s “sleepwalkers security” about the script, as described by Fritz Lang, gave him the confidence to push the boundaries of what was possible on screen. He was willing to take risks, to experiment, and to challenge the audience’s expectations. This willingness to take risks has been a hallmark of Friedkin’s career, and it is a key factor in The Exorcist’s enduring success.
The Making of a Horror Classic
The Exorcist’s narrative is informed by a range of historical and cultural references, from ancient Mesopotamia to modern-day Chicago. The film’s use of subliminal cuts and sounds creates a sense of unease, a feeling that something is not quite right.
Ancient Inspirations
The film’s opening sequence, set in ancient Ninver, Iraq, is a masterclass in atmospheric storytelling. Friedkin’s use of muted colors, low-key lighting, and a haunting score creates a sense of foreboding, a feeling that something terrible is about to happen.
The introduction of the McGuffin, an ancient medal found in the sands, provides a crucial plot point that sets the story in motion. This device allows Friedkin to explore themes of faith, doubt, and the supernatural, as the characters grapple with the consequences of their actions.
The Power of Sound
Music had an overriding influence on Friedkin’s approach to The Exorcist. He wanted to create a score that was more than just a series of notes; he wanted to create a soundscape that would build tension, create unease, and ultimately, convey the horror of the situation.
Friedkin’s use of sound design, from the low-key opening in Iraq to the crescendo of terror in Regan’s bedroom, is a masterclass in building tension. The sound of whispers, the creaking of doors, and the rustling of leaves all contribute to a sense of unease, a feeling that something is not quite right.
Friedkin’s Experimental Approach
Friedkin’s use of subliminal cuts and sounds makes The Exorcist an experimental sound museum. The film’s use of quick cuts, sharp angles, and a chaotic score creates a sense of disorientation, a feeling that the audience is being pulled into a nightmare.
The film’s use of sound effects, from the demon’s voice to the sounds of Regan’s body contorting, is a key element in creating a sense of horror. Friedkin’s collaboration with sound designer Ken Nordine, who created Regan’s demon voice, was instrumental in creating a sound that was both terrifying and unforgettable.
Collaborations and Controversies
The creation of The Exorcist was not without its challenges. Friedkin’s struggles to find the perfect music for the film, his collaborations with Lalo Schiffer and Bernard Herrmann, and his eventual rejection of their work, all contributed to a sense of tension and unease.
The Cursed Score
Friedkin’s search for the perfect score was a long and arduous one. He approached several composers, including Lalo Schiffer, but ultimately rejected their work. The score that was eventually used, composed by Mike Oldfield, was a last-minute addition, and it has been credited with helping to create the film’s sense of tension and unease.
Friedkin’s collaboration with Lalo Schiffer was particularly challenging. Schiffer’s score, which was intended to be a more traditional, horror-themed score, was ultimately rejected by Friedkin. He felt that it was too on-the-nose, too obvious, and that it detracted from the film’s sense of subtlety and nuance.
The Collaboration with Bernard Herrmann
Bernard Herrmann, the renowned composer, was initially approached by Friedkin to create the score for The Exorcist. Herrmann, who had previously worked with Friedkin on the film The French Connection, was known for his innovative and experimental approach to music. However, his collaboration with Friedkin was ultimately unsuccessful.
Herrmann’s rejection of The Exorcist was a significant blow to Friedkin. He felt that Herrmann’s score, which was intended to be a more traditional, horror-themed score, was too on-the-nose, too obvious, and that it detracted from the film’s sense of subtlety and nuance.
Innovation and Influence
The Exorcist’s influence on the horror genre and popular culture cannot be overstated. The film’s use of subliminal cuts and sounds, its exploration of faith and doubt, and its innovative approach to storytelling, have all contributed to a sense of unease and tension that has captivated audiences for decades.
The Influence of Other Films
The Exorcist’s connections to other cinematic classics, from Orson Welles’ Citizen Kane to Alfred Hitchcock’s Psycho, are numerous. The film’s use of deep focus, low-angle shots, and a haunting score, all pay homage to the masters of cinema who came before.
The Exorcist’s influence on the horror genre has been significant. The film’s use of supernatural themes, its exploration of faith and doubt, and its innovative approach to storytelling, have all contributed to a sense of unease and tension that has captivated audiences for decades.
Friedkin’s Legacy
William Friedkin’s legacy as a filmmaker is one of innovation and experimentation. His willingness to take risks, to push the boundaries of what was possible on screen, has created a sense of unease and tension that has captivated audiences for decades.
The Exorcist, with its use of subliminal cuts and sounds, its exploration of faith and doubt, and its innovative approach to storytelling, is a testament to Friedkin’s genius as a filmmaker. It is a film that continues to captivate audiences today, and its influence on the horror genre and popular culture will be felt for generations to come.
Conclusion
David Lynch Meets Abbas Kiarostami in Sundance Thriller “The Things You Kill,” Says Director Alireza Khatami
In a surprising turn of events, visionary directors David Lynch and Abbas Kiarostami have come together to create a thought-provoking, unsettling thriller at the just concluded Sundance Film Festival, “The Things You Kill.” This gripping narrative combines the surrealist experimentation of Lynch with the cinematic introspection of Kiarostami, resulting in a cinematic experience that challenges the very fabric of reality. As Alireza Khatami, the director of the film, has stated, “David Lynch and I have been exploring the world of cinema together, pushing the boundaries of storytelling and unearthing new ways to confront the human condition.”
Through “The Things You Kill,” Khatami and Lynch have crafted a complex web of symbolism, metaphors, and doubles, blurring the lines between reality and the subconscious. The film’s narrative is a labyrinth of fragmented memories, eerie landscapes, and unsettling encounters, as a lone protagonist navigates the dark underbelly of human nature. By embracing the unconventional and the unsettling, the duo has created a cinematic experience that is both unsettling and thought-provoking. As Khatami astutely remarks, “This film is an invitation to confront the unknown, to question the very notion of reality and the human condition.”
The significance and implications of “The Things You Kill” extend far beyond the realm of cinema, touching on themes of identity, mortality, and the fragility of human existence. By exploring the darker aspects of human nature, the film challenges viewers to confront their own fears and doubts, forcing them to re-examine their assumptions about the world and themselves. As the film’s cryptic ending suggests, “The Things You Kill” is a cinematic experience that leaves one questioning the very nature of reality and the human condition. As Khatami has said, “This film is a reflection of our times, a reminder that, in the end, it is we who are the Things We Kill.”