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Bruno Forzani and Hélène Cattet’s baroque Belgian beauty pays homage to ’70s Italian horror but brims with its own sexualised currents of threat and promise.
Sidelining story for a stylised stew of death and desire, it penetrates the fears and fantasies of one girl across three life stages around her family’s seaside mansion.
In childhood, keyholes and corpses spur her imagination; in adolescence, she pouts at bikers; in adulthood, a killer stalks her.
The ravishing direction cuts deepest in this last stretch, with an orgy of eyeballs, blades and flesh so cruelly precise, Argento might approve.
Ahead of GTA 6, Take-Two CEO says he’s “not worried about AI creating hits” because it’s built on recycled data: “Big hits […] need to be created out of thin air”
Getting Over It creator Bennett Foddy threatens the world once again: If you want Baby Steps to be a brutal rage game, "you can inflict that on yourself"
A Simpsons Hit and Run Remake will probably never happen – and I don't want it to
