For the filmmakers, so much of their adoration of the genre comes from its inherent flexibility and the way it can stretch to include all manner of ideas and tones.įor Kusama, horror allows her to explore her own feelings about the world, in ways that other sorts of films might not so readily welcome. “I feel like we are a culture largely without ritual custom or practical applications towards healing, and I just felt like, ‘OK, that’s the horror,'” Kusama said. “We don’t have an ability to absorb or process grief as an instructive, transformative human experience. And so I started feeling like that’s something to devote a lot of my work to, not even consciously, but I think it’s thematically there.”īailey-Bond’s film is explicitly about horror, but she approached “Censor” as something that could, like all great horror, appeal to a wider audience. “What I always wanted to do with ‘Censor’ was make a film that, somebody could come to it that doesn’t know anything about video nasties or horror and anything and enjoy it, but for the people that do know about this, they’re going to see the little signs and they’re going to see the winks and the nods, and you can be having another level of fun with the audience that way.” “I always felt it’s a mystery about horror that becomes a horror,” she said. Reeder said she was keen on bending the potential of the genre.
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