{"id":17028,"date":"2025-01-17T15:13:45","date_gmt":"2025-01-17T15:13:45","guid":{"rendered":"https:\/\/rsgproduction.fr\/?p=17028"},"modified":"2025-01-22T23:20:12","modified_gmt":"2025-01-22T23:20:12","slug":"retrospective-horreur-2024-dossier","status":"publish","type":"post","link":"https:\/\/rsgproduction.fr\/?p=17028","title":{"rendered":"R\u00e9trospective Horreur 2024 [Dossier]"},"content":{"rendered":"\t\t<div data-elementor-type=\"wp-post\" data-elementor-id=\"17028\" class=\"elementor elementor-17028\">\n\t\t\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-11ad8f1 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"11ad8f1\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-7b391f1 exad-glass-effect-no exad-sticky-section-no\" data-id=\"7b391f1\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-65beec5 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"65beec5\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-column .elementor-spacer-inner{height:var(--spacer-size)}.e-con{--container-widget-width:100%}.e-con-inner>.elementor-widget-spacer,.e-con>.elementor-widget-spacer{width:var(--container-widget-width,var(--spacer-size));--align-self:var(--container-widget-align-self,initial);--flex-shrink:0}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container,.e-con>.elementor-widget-spacer>.elementor-widget-container{height:100%;width:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer{height:100%}.e-con-inner>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner,.e-con>.elementor-widget-spacer>.elementor-widget-container>.elementor-spacer>.elementor-spacer-inner{height:var(--container-widget-height,var(--spacer-size))}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty,.e-con>.elementor-widget-spacer.elementor-widget-empty{position:relative;min-height:22px;min-width:22px}.e-con-inner>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon,.e-con>.elementor-widget-spacer.elementor-widget-empty .elementor-widget-empty-icon{position:absolute;top:0;bottom:0;left:0;right:0;margin:auto;padding:0;width:22px;height:22px}<\/style>\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-f265675 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"f265675\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-no\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-33 elementor-top-column elementor-element elementor-element-c5f9418 exad-glass-effect-no exad-sticky-section-no\" data-id=\"c5f9418\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-d83485d exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"d83485d\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-text-editor.elementor-drop-cap-view-stacked .elementor-drop-cap{background-color:#69727d;color:#fff}.elementor-widget-text-editor.elementor-drop-cap-view-framed .elementor-drop-cap{color:#69727d;border:3px solid;background-color:transparent}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap{margin-top:8px}.elementor-widget-text-editor:not(.elementor-drop-cap-view-default) .elementor-drop-cap-letter{width:1em;height:1em}.elementor-widget-text-editor .elementor-drop-cap{float:left;text-align:center;line-height:1;font-size:50px}.elementor-widget-text-editor .elementor-drop-cap-letter{display:inline-block}<\/style>\t\t\t\t<h2 class=\"elementor-heading-title elementor-size-default elementor-inline-editing pen\" style=\"font-size: 24px; font-style: normal; font-weight: bold; color: #000000; line-height: 1.2em; text-align: right;\" data-elementor-setting-key=\"title\" data-pen-placeholder=\"\u00c9crivez ici...\">R\u00e9trospective &#8211; Films d&rsquo;horreur<\/h2><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">Revisiting the 2024 horror films<\/h5><h5>\u00a0<\/h5><h5 style=\"text-align: right;\">[Dossier]<\/h5><h6 style=\"text-align: right;\">\u00a0<\/h6><p style=\"text-align: right;\">2024<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-66 elementor-top-column elementor-element elementor-element-207dee7 exad-glass-effect-no exad-sticky-section-no\" data-id=\"207dee7\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-c9ca946 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"c9ca946\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p><span style=\"font-style: inherit; font-weight: inherit; letter-spacing: 0px; text-align: justify;\"><img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone wp-image-17031 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501.png\" alt=\"\" width=\"3200\" height=\"1653\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501.png 3200w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501-1536x793.png 1536w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/MINIATURE-HORREUR-2024-e1737126849501-2048x1058.png 2048w\" sizes=\"(max-width: 3200px) 100vw, 3200px\" \/><\/span><\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-390b3ee elementor-section-boxed elementor-section-height-default elementor-section-height-default wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"390b3ee\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-69fe0cf exad-glass-effect-no exad-sticky-section-no\" data-id=\"69fe0cf\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-b179872 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"b179872\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<p style=\"text-align: center;\">FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN<\/p>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-c40b310 e-transform exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-html\" data-id=\"c40b310\" data-element_type=\"widget\" data-settings=\"{&quot;_transform_scale_effect_mobile&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.9,&quot;sizes&quot;:[]},&quot;_transform_scale_effect&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:0.8,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_tablet&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]},&quot;_transform_scale_effect_mobile_extra&quot;:{&quot;unit&quot;:&quot;px&quot;,&quot;size&quot;:&quot;&quot;,&quot;sizes&quot;:[]}}\" data-widget_type=\"html.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\r\n<input id=\"content_switcher\" class=\"toggle_switch toggle_switch-ios\" type=\"checkbox\" \/> \r\n<label class=\"toggle_switch-button\" tabindex=\"0\" for=\"content_switcher\"><\/label>\r\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-a3a5f05 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"a3a5f05\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\">\u00a0<\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p>Si 2023 avait d\u00e9j\u00e0 propos\u00e9 des films d\u2019horreur innovants et marquants \u2013 comme les truculents et intrigants \u00ab\u00a0<em>M\u039eGAN\u00a0\u00bb<\/em>, \u00ab\u00a0<em>La Main\u00a0\u00bb<\/em>, \u00ab\u00a0<em>Vermines\u00a0\u00bb<\/em> ou encore \u00ab\u00a0<em>Gueules noires\u00a0\u00bb<\/em> \u2013, 2024 s\u2019impose comme une ann\u00e9e riche dans le genre horrifique avec quelques p\u00e9pites et des productions parfois novatrices. Certes, quasiment tous les longs-m\u00e9trages horrifiques de l\u2019ann\u00e9e \u00e9coul\u00e9e reprennent les codes quelquefois vus et revus de la violence, mais certains films d\u00e9notent sur ce plan (I). De fait, la figure du monstre est donc (logiquement) remise \u00e0 l\u2019honneur, avec cependant une abondante panoplie d\u2019incarnations et d\u2019interpr\u00e9tations (II). Par ailleurs, une cr\u00e9ature mythique en particulier conna\u00eet un r\u00e9el renouveau \u00e0 travers au moins quatre bons films (certes pas toujours purement d\u2019horreur)\u00a0: celle du vampire (III).<\/p><p><strong>I. La violence classique sous toutes ses formes<\/strong><\/p><p>Commen\u00e7ons donc par l\u2019attendue et r\u00e9currente pr\u00e9sence de la violence dans les films d\u2019horreur de 2024. Dans ce genre, la violence constitue certes un leitmotiv tout aussi important que la peur, mais son incarnation \u00e0 l\u2019\u00e9cran a parfois pu \u00eatre surprenante et\/ou exquise. Il existe d\u2019ailleurs deux grandes familles (bien s\u00fbr non herm\u00e9tiques) de films d\u2019horreur\u00a0: les longs-m\u00e9trages qui jouent sur la violence physique (par exemple les histoires gores ou de <em>body horror<\/em>) et les longs-m\u00e9trages qui jouent sur la violence psychologique (par exemple les intrigues spirites ou certains thrillers). Et dans les deux cas, l\u2019ann\u00e9e 2024 n\u2019a pas d\u00e9\u00e7u.<\/p><p>C\u00f4t\u00e9 violence physique, le sang teinte \u00e9videmment les images de plusieurs films d\u2019horreur. Dans la plupart des cas, les s\u00e9quences d\u00e9goulinantes de rouge se cantonnent \u00e0 quelques sc\u00e8nes plut\u00f4t marquantes\u00a0: citons le brutal coup de talon de l\u2019h\u00e9ro\u00efne \u00e9ponyme de \u00ab\u00a0<em>MaXXXine\u00a0\u00bb<\/em> dans les parties g\u00e9nitales d\u2019un pervers, l\u2019accouchement hurlant et en gros plan sur le visage de Sydney Sweeney dans \u00ab\u00a0<em>Immacul\u00e9e\u00a0\u00bb<\/em>, les coups de hache que s\u2019ass\u00e8ne dans le cr\u00e2ne une victime du mal dans \u00ab\u00a0<em>When Even Lurks\u00a0\u00bb<\/em>, ou encore le suicide sur une table du d\u00e9rangeant personnage-clef de \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em> \u2013 que de moments d\u00e9licieux\u00a0! Mais certains films poussent le vice plus loin\u00a0en explosant leur taux d\u2019h\u00e9moglobine\u00a0: \u00ab\u00a0<em>Smile 2\u00a0\u00bb<\/em> et ses abominables morts, \u00ab\u00a0<em>Abigail\u00a0\u00bb<\/em> et le d\u00e9lire sanguinaire de son anti-h\u00e9ro\u00efne, et bien s\u00fbr \u00ab\u00a0<em>The Substance\u00a0\u00bb<\/em> avec la d\u00e9gradation spectaculaire des corps d\u2019Elisabeth et de Sue. Dans ces trois films en particulier, l\u2019exposition \u00e0 outrance du sang et d\u2019autres s\u00e9cr\u00e9tions visqueuses se fait avec une certaine dose d\u2019humour, ce que ne cherchent pas n\u00e9cessairement les autres longs-m\u00e9trages cit\u00e9s juste avant, et encore moins ceux qui se veulent plus psychiques.<\/p><p>Car c\u00f4t\u00e9 violence psychologique, certaines productions de 2024 s\u2019av\u00e8rent on ne peut plus troublantes. \u00c0 commencer par \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em>, dont la forme comme le fond perturbent \u00e9norm\u00e9ment, parce que m\u00ealant meurtres, occulte, doutes et folie dans un format visuel et sonore atypique et saccad\u00e9. Autre film saisissant de par son aspect des plus morbides \u2013 et d\u00e9passant m\u00eame le stade de l\u2019horreur\u00a0: \u00ab\u00a0<em>Les Chambres Rouges\u00a0\u00bb<\/em>, o\u00f9 toute la violence r\u00e9side dans le contexte, les regards de ses personnages \u00e9nigmatiques et le hors-champ qui stimule terriblement notre imagination. De fa\u00e7on plus g\u00e9n\u00e9rale \u2013 et peut-\u00eatre moins soutenue \u2013, tous les longs-m\u00e9trages impliquant des questions d\u2019ordre plut\u00f4t paranormal ou psychique cr\u00e9ent cette ann\u00e9e des atmosph\u00e8res suffisamment glauques pour \u00eatre effrayantes\u00a0: c\u2019est le cas de \u00ab\u00a0<em>Mother Land\u00a0\u00bb<\/em>, de \u00ab\u00a0<em>La Mal\u00e9diction\u00a0: L\u2019Origine\u00a0\u00bb<\/em> et de \u00ab\u00a0<em>Amelia\u2019s Children\u00a0\u00bb<\/em>, par exemple.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-8093 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Les deux familles de films d\u2019horreur (sur le plan de la violence) ont malgr\u00e9 tout un d\u00e9nominateur commun\u00a0: celui de la notion de traumatisme, qu\u2019il soit pass\u00e9, pr\u00e9sent ou futur, et qu\u2019il soit celui d\u2019un personnage et\/ou celui du public. Des intrigues enti\u00e8res se fondent en effet sur les traumas de leurs protagonistes\u00a0: certains sont tout simplement cr\u00e9\u00e9s par les sc\u00e9narios (comme ceux de Frida dans \u00ab\u00a0<em>Blink Twice\u00a0\u00bb<\/em> ou ceux de Skye dans \u00ab\u00a0<em>Smile 2\u00a0\u00bb<\/em>) d\u2019autres sont r\u00e9activ\u00e9s (comme ceux d\u2019Ellen dans \u00ab\u00a0<em>Nosferatu\u00a0\u00bb<\/em> ou ceux de Lee dans \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em>), d\u2019autres encore sont r\u00e9appropri\u00e9s (comme ceux des victimes de Cooper dans \u00ab\u00a0<em>Trap\u00a0\u00bb<\/em> ou du tueur en s\u00e9rie des<em> \u00ab\u00a0Chambres Rouges\u00a0\u00bb<\/em>). Ces troubles qui surgissent ou ressurgissent parviennent \u00e0 se transmettre au public de trois fa\u00e7ons diff\u00e9rentes \u2013 en plus de leur mise en sc\u00e8ne recherch\u00e9e : les actions et r\u00e9actions des personnages traumatis\u00e9s (les cris stridents et frissonnants de Lee dans \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em> ou d\u2019Ellen dans \u00ab\u00a0<em>Nosferatu\u00a0\u00bb<\/em>, la terreur dans le regard de Skye dans \u00ab\u00a0<em>Smile 2\u00a0\u00bb<\/em>, la folie d\u00e9sesp\u00e9r\u00e9e d\u2019Elisabeth dans \u00ab\u00a0<em>The Substance\u00a0\u00bb<\/em>), le jeu de la suggestion (les invisibles monstres de la lugubre for\u00eat dans \u00ab\u00a0<em>Mother Land\u00a0\u00bb<\/em>, les strictes et \u00e9tranges r\u00e8gles du bunker dans \u00ab\u00a0<em>Les Guetteurs\u00a0\u00bb<\/em>, les vid\u00e9os jamais montr\u00e9es des<em> \u00ab\u00a0Chambres Rouges\u00a0\u00bb<\/em>), ou \u00e0 l\u2019inverse l\u2019\u00e9gr\u00e8nement de s\u00e9quences souvent tr\u00e8s courtes voire typiques des clips mais tr\u00e8s explicites et brutales (comme dans \u00ab\u00a0<em>Blink Twice\u00a0\u00bb<\/em>, \u00ab\u00a0<em>Amelia\u2019s Children\u00a0\u00bb<\/em> ou \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em>). Et tout bon film d\u2019horreur est d\u2019abord bon dans sa r\u00e9ussite \u00e0 diffuser au sein du public la peur que ressentent ses h\u00e9ro\u00efnes, face \u00e0 leurs propres d\u00e9mons ou \u00e0 des monstres bien plus r\u00e9els, ce que font avec succ\u00e8s les films \u00e9num\u00e9r\u00e9s jusqu\u2019ici.<\/p><p><strong>II. La figure prot\u00e9iforme du monstre<\/strong><\/p><p>Les monstres et autres incarnations du mal ont d\u2019ailleurs une place toute particuli\u00e8re dans plusieurs longs-m\u00e9trages sortis en 2024. Figure v\u00e9ritablement prot\u00e9iforme tant dans le cin\u00e9ma que plus g\u00e9n\u00e9ralement dans l\u2019art, le monstre rev\u00eat en effet diff\u00e9rentes r\u00e9alit\u00e9s, qu\u2019elles soient palpables, fantasm\u00e9es ou effroyablement (in)humaines.<\/p><p>Apr\u00e8s l\u2019oppressant floril\u00e8ge d\u2019arachnides venimeuses qui nous avait souffl\u00e9s dans \u00ab\u00a0<em>Vermines\u00a0\u00bb<\/em>, quelques films de l\u2019ann\u00e9e pass\u00e9e ont eux aussi r\u00e9ussi \u00e0 nous donner quelques frissons avec leurs jolies b\u00e9b\u00eates. Dans le genre post-apocalyptique, nous retrouvons bien s\u00fbr les super-pr\u00e9dateurs \u00e0 l\u2019ou\u00efe hyper-sensible de \u00ab\u00a0<em>Sans un Bruit\u00a0: Jour 1\u00a0\u00bb<\/em> qui nous avait d\u00e9j\u00e0 troubl\u00e9s dans les deux premiers opus de la saga \u2013 notons cependant qu\u2019ils \u00e9taient plus furtifs et moins pr\u00e9sents que dans cette pr\u00e9quelle. M\u00eame chose pour nos x\u00e9nomorphes ador\u00e9s qui ont fait de \u00ab\u00a0<em>Alien\u00a0\u00bb<\/em> un incontournable de la science-fiction horrifique et dont le retour \u00e0 l\u2019\u00e9cran dans \u00ab\u00a0<em>Alien\u00a0: Romulus\u00a0\u00bb<\/em> constitue \u00e0 la fois un rafra\u00eechissement et une certaine redite de la th\u00e9matique principale des deux premiers volets de la s\u00e9rie de longs-m\u00e9trages \u2013 bien qu\u2019au demeurant, revoir ces fascinants monstres d\u2019abord con\u00e7us en animatroniques fait toujours plaisir, m\u00eame dans un film peut-\u00eatre un peu moins riche sc\u00e9naristiquement. C\u00f4t\u00e9 cr\u00e9atures folkloriques, saluons les plut\u00f4t bonnes id\u00e9es insuffl\u00e9es (quoiqu\u2019insuffisamment peut-\u00eatre) dans \u00ab\u00a0<em>Les Guetteurs\u00a0\u00bb<\/em>, o\u00f9 la mythologie des f\u00e9es et des halfelins se modernise concomitamment avec une forme d\u2019alchimie contemporaine et transhumaniste, le tout dans une ambiance somme toute classique mais bien \u00e9pur\u00e9e. Enfin, \u00e0 la crois\u00e9e des chemins entre horreur psychologique et horreur physique, le difforme d\u00e9mon souriant de \u00ab\u00a0<em>Smile 2\u00a0\u00bb<\/em> qui refait une apparition magistrale au moment de l\u2019apog\u00e9e de ce second film est aussi \u00e0 mettre en valeur, parce que confirmant et rehaussant la terreur psychotique que cr\u00e9e ce monstre uniquement visible par un personnage \u00e0 la fois.<\/p><p>N\u00e9anmoins, les cr\u00e9atures invisibles et impalpables ont \u00e9galement leur place dans les peurs et angoisses que g\u00e9n\u00e8rent quelques films de 2024. Les diverses et r\u00e9p\u00e9t\u00e9es r\u00e9interpr\u00e9tations de la figure du Diable et de ses sbires dans les intrigues religieuses ou \u00e9sot\u00e9riques ont toujours la part belle, notamment dans \u00ab\u00a0<em>La Mal\u00e9diction\u00a0: L\u2019Origine\u00a0\u00bb<\/em>, \u00ab\u00a0<em>Immacul\u00e9e\u00a0\u00bb<\/em> ou encore \u00ab\u00a0<em>Amelia\u2019s Children\u00a0\u00bb<\/em>, mais d\u2019autres monstres paraissent d\u2019autant plus terrifiants parce que justement nous ne les voyons pas et les devinons \u00e0 peine. Tout une premi\u00e8re partie des \u00ab\u00a0<em>Guetteurs\u00a0\u00bb<\/em> est ainsi construite de telle sorte que nous en venons \u00e0 douter de l\u2019existence de ces chim\u00e8res, malgr\u00e9 la kyrielle de coups, de cris et de fracas qu\u2019ils causent la nuit tomb\u00e9e, derri\u00e8re le miroir sans teint de cet abri myst\u00e9rieux. C\u2019est toutefois dans \u00ab\u00a0<em>Mother Land\u00a0\u00bb<\/em> que l\u2019ambigu\u00eft\u00e9 de la r\u00e9alit\u00e9 des monstres mal\u00e9fiques nous interroge m\u00eame jusqu\u2019\u00e0 la fin du long-m\u00e9trage\u00a0: impossible d\u2019avoir une r\u00e9ponse tranch\u00e9e \u00e0 la question \u00ab\u00a0Qu\u2019est-ce que ce mal que ne voit que la m\u00e8re\u00a0? Ce mal ne serait-il pas une pure invention ou une personnalisation de la folie de cette femme\u00a0?\u00a0\u00bb.<\/p><p>En revanche, d\u2019autres films d\u2019horreur de 2024 se montrent plus explicites quant \u00e0 la qualit\u00e9 des monstres qu\u2019ils exposent \u00e0 l\u2019\u00e9cran\u00a0; et tr\u00e8s souvent, ces monstres sont terriblement humains, \u00e0 diff\u00e9rentes \u00e9chelles.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-11241 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Il y a d\u2019abord les monstres psychopathiques, dont les portraits gla\u00e7ants nous r\u00e9pugnent autant qu\u2019ils peuvent nous fasciner de par leur r\u00e9alisme et leur complexit\u00e9. \u00c0 commencer par le s\u00e9duisant et immonde Slater King dans \u00ab\u00a0<em>Blink Twice\u00a0\u00bb<\/em> \u2013 dont l\u2019histoire est plus qu\u2019un clin d\u2019\u0153il d\u00e9non\u00e7ant les comportements pervers, obsc\u00e8nes et destructeurs d\u2019une myriade d\u2019hommes influents \u00e0 Hollywood comme ailleurs. Mais c\u2019est surtout la figure devenue presque mythique de Longlegs dans le film \u00e9ponyme qui d\u00e9range et hypnotise, que ce soit pour son aspect d\u00e9sesp\u00e9r\u00e9, ses agissements d\u00e9lirants ou la noirceur absolue qu\u2019il inspire, m\u00eame dans des paysages enneig\u00e9s. Or, ces deux hommes ne sont qu\u2019une source et une cons\u00e9quence des violences inter-personnelles comme sociales, ce qui est d\u2019autant plus troublant, parce que nous pouvons y trouver un certain \u00e9cho d\u00e9rangeant, parfois m\u00eame nous identifier \u00e0 ces figures immorales.<\/p><p>C\u2019est pourquoi il y a, deuxi\u00e8mement, dans plusieurs films de 2024, des repr\u00e9sentations des monstres que nous renfermons, enfantons et incarnons \u2013 symboliquement comme physiquement. Dans nombre de films, les \u00eatres humains sont en effet d\u00e9peints comme \u00e9tant des potentiels de violence envers les autres et envers eux-m\u00eames, qu\u2019ils soient fous, conscients ou non. Par exemple, dans \u00ab\u00a0<em>Sleep\u00a0\u00bb<\/em>, long-m\u00e9trage cor\u00e9en, c\u2019est le somnambulisme qui r\u00e9v\u00e8le certaines de nos pulsions sanguinaires, tandis que notre iconique Maxine Minx se montre totalement d\u00e9complex\u00e9e vis-\u00e0-vis de ses cong\u00e9n\u00e8res mena\u00e7ants \u2013 notamment parce que la soci\u00e9t\u00e9 dans laquelle elle vit est empreinte d\u2019une violence syst\u00e9matique et multiforme. Mais la haine que toute personne peut exprimer envers son prochain se r\u00e9v\u00e8le parfois encore plus forte envers son propre \u00eatre\u00a0; c\u2019est ce que montre Elisabeth dans \u00ab\u00a0<em>The Substance\u00a0\u00bb<\/em>, dont la haine de son propre corps vieillissant et anti-sexualis\u00e9 la pousse \u00e0 se d\u00e9truire toujours plus afin d\u2019illusoirement rena\u00eetre en une autre femme qui n\u2019est pas meilleure qu\u2019elle et qui la renie \u2013 somme toute, le monstre que nous pensons \u00eatre nous fait accoucher de v\u00e9ritables monstres ou agir comme tels.<\/p><p>Toutefois, m\u00eame sans agir de fa\u00e7on fondamentalement mauvaise, il y a de surcro\u00eet des monstres que nous pouvons toutes et tous \u00eatre, en particulier sur le plan moral. Un film retient ici sp\u00e9cialement notre attention\u00a0: \u00ab\u00a0<em>Les Chambres Rouges\u00a0\u00bb<\/em>. Car la taciturne et d\u00e9termin\u00e9e Kelly-Anne \u2013 et dans une moindre mesure, la d\u00e9routante groupie pr\u00e9nomm\u00e9e Cl\u00e9mentine \u2013, \u00e9prises toutes les deux d\u2019une fascination plus que discutable et excessivement malsaine pour les meurtres inou\u00efs d\u2019un tueur en s\u00e9rie, nous rappellent que tout le monde cache au plus profond de soi des passions sinistres et inavouables, dont la simple \u00e9vocation interroge notre rapport \u00e0 une forme de morale et \u00e0 la soci\u00e9t\u00e9.<\/p><p>Ainsi, toutes ces monstruosit\u00e9s, ch\u00e8res aux films d\u2019horreur, sont bien pr\u00e9sentes dans les productions de 2024, et ce sous toutes les formes (humaines ou non) et quelquefois brillamment. Une incontournable cr\u00e9ature monstrueuse, en revanche, est particuli\u00e8rement bien r\u00e9appropri\u00e9e et r\u00e9actualis\u00e9e\u00a0: celle du vampire.<\/p><p><strong>III. Le Renouveau du mythe du vampire<\/strong><\/p><p>Tirant ses racines en Europe centrale et orientale, le mythe du vampire appara\u00eet au d\u00e9but du XVIII<sup>\u00e8me<\/sup> si\u00e8cle en m\u00eame temps que diff\u00e9rentes l\u00e9gendes sur des pr\u00e9tendus revenants en chair et ayant hant\u00e9 leurs villages apr\u00e8s leur mort. Selon les premi\u00e8res \u00e9vocations de cette cr\u00e9ature dont les origines folkloriques seraient plut\u00f4t slaves, les vampires sont initialement et avant tout des d\u00e9funts enterr\u00e9s qui, la nuit tomb\u00e9e, s\u2019abreuvent du sang de leurs victimes. Cette figure s\u2019est d\u2019abord popularis\u00e9e dans le reste de l\u2019Europe au XIX<sup>\u00e8me<\/sup> gr\u00e2ce \u00e0 la litt\u00e9rature, avec \u00ab\u00a0<em>Le Vampyre\u00a0\u00bb<\/em> de John Polidori en 1819 puis bien s\u00fbr \u00ab\u00a0<em>Dracula\u00a0\u00bb<\/em> de Bram Stoker en 1897. Mais c\u2019est v\u00e9ritablement le cin\u00e9matographe qui a fait du vampire une ic\u00f4ne et qui a d\u2019ailleurs permis au genre horrifique de conna\u00eetre un essor spectaculaire d\u00e8s les d\u00e9buts du septi\u00e8me art au si\u00e8cle dernier.<\/p><p>Un film en particulier, devenu une r\u00e9f\u00e9rence en la mati\u00e8re, a consid\u00e9rablement \u00e9tendu le prestige de la figure du vampire\u00a0: \u00ab\u00a0<em>Nosferatu le vampire\u00a0\u00bb<\/em>, de Friedrich Wilhelm Murnau, sorti en 1922. En pleine effervescence de l\u2019expressionnisme allemand, ce long-m\u00e9trage, (pas si) librement adapt\u00e9 du roman de Bram Stoker, a d\u00e9finitivement ciment\u00e9 l\u2019appr\u00e9ciation internationale de ce monstre dans nos imaginaires collectifs, de sorte qu\u2019au fil des d\u00e9cennies, de nombreux films et s\u00e9ries ont recycl\u00e9 r\u00e9guli\u00e8rement ce mythe. Pensons par exemple \u00e0 \u00ab\u00a0<em>Buffy contre les vampires\u00a0\u00bb<\/em>, la saga \u00ab\u00a0<em>Twilight\u00a0\u00bb<\/em>, le film \u00ab\u00a0<em>Entretien avec un vampire\u00a0\u00bb<\/em> ou encore l\u2019univers de Tim Burton.<\/p><p>Mais la symbolique extr\u00eamement riche et plurielle du vampire se retrouve encore dans des productions plus r\u00e9centes, \u00e0 l\u2019instar du \u00ab\u00a0<em>Nosferatu\u00a0\u00bb<\/em> de Robert Eggers, deuxi\u00e8me <em>remake<\/em> du film de Murnau (apr\u00e8s \u00ab\u00a0<em>Nosferatu, fant\u00f4me de la nuit\u00a0\u00bb<\/em> de Werner Herzog). Renouant avec les racines litt\u00e9raires de la figure d\u00e9sormais plus que mythique, le \u00ab\u00a0<em>Nosferatu\u00a0\u00bb<\/em> d\u2019Eggers se veut dans la continuit\u00e9 de l\u2019obscurit\u00e9 myst\u00e9rieuse et effrayante qu\u2019incarnent les vampires, \u00e0 la crois\u00e9e entre la vie, la mort, la folie et la violence, et le tout dans ses contr\u00e9es originelles de la Mitteleuropa (du ch\u00e2teau des Carpates \u00e0 la petite ville germanique en passant par une Boh\u00eame peupl\u00e9e de Tziganes).<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-16590 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Dans le \u00ab\u00a0<em>Nosferatu\u00a0\u00bb<\/em> de 2024, le vampire est synonyme de grand malheur\u00a0: il apporte la peste, le chagrin et le d\u00e9sespoir que porterait et auxquels se vouerait inexorablement l\u2019humanit\u00e9, comme l\u2019illustre tr\u00e8s bien le personnage d\u2019Ellen. L\u2019apparence du vampire est ainsi ambivalente, \u00e0 la fois proche de l\u2019\u00eatre humain mais dans ses pires cauchemars\u00a0: une silhouette \u00e9maci\u00e9e et putr\u00e9fi\u00e9e pourtant un minimum attirante, des mouvements lents et mena\u00e7ants pourtant po\u00e9tiques et gr\u00e2cieux, des d\u00e9sirs animaux et bestiaux pourtant concevables et compr\u00e9hensibles\u2026<\/p><p>\u00c9tant donn\u00e9 cette proximit\u00e9 que nous avons avec ce monstre, il para\u00eet ainsi presque normal de s\u2019y identifier et de l\u2019humaniser un peu plus qu\u2019il ne l\u2019est dans les premi\u00e8res l\u00e9gendes. Les drames et trag\u00e9dies qu\u2019apportent les vampires peuvent ainsi venir de leurs propres interrogations et souffrances. C\u2019est ce que montrent tr\u00e8s bien les deux personnages de Sasha dans \u00ab\u00a0<em>Vampire humaniste cherche suicidaire consentant\u00a0\u00bb<\/em> et Phil\u00e9mon dans \u00ab\u00a0<em>En attendant la nuit\u00a0\u00bb<\/em>. Les deux sont en pleine crise adolescente et existentielle, mais si l\u2019une, est en proie \u00e0 des questions d\u2019ordre moral sur comment \u00e9viter de faire du mal aux \u00eatres humains dont elle doit n\u00e9cessairement se nourrir pour survivre, l\u2019autre, souffre au plus profond de lui-m\u00eame de sa sp\u00e9cificit\u00e9 contre laquelle il ne peut se battre malgr\u00e9 le soutien de ses proches. En ce sens, les vampires ne sont plus uniquement le reflet de nos angoisses et malheurs\u00a0: ils les incarnent, ce qui ne les r\u00e9duit plus \u00e0 une simple figure monstrueuse. L\u2019on finit m\u00eame par s\u2019attacher \u00e0 Sasha et Phil\u00e9mon dans lesquels l\u2019on se retrouve sur bien des th\u00e9matiques\u00a0: la peur du rejet et de la diff\u00e9rence, la difficult\u00e9 de se trouver une place dans un monde souvent brutal, ou encore le d\u00e9sir d\u2019amour pour combler le gouffre que l\u2019on creuse soi-m\u00eame.<\/p><p>De ce haut potentiel tragique et en r\u00e9alit\u00e9 humanisant que portent ainsi les vampires, ces figures peuvent par cons\u00e9quent \u00eatre d\u00e9tourn\u00e9es \u00e0 l\u2019infini, et donc m\u00eame de l\u2019autre c\u00f4t\u00e9 du spectre des \u00e9motions\u00a0: l\u2019on peut aussi rire des vampires, ils peuvent nous faire sourire.<\/p><p>Sasha, une ado authentique dans \u00ab\u00a0<em>Vampire humaniste cherche suicidaire consentant\u00a0\u00bb<\/em>, nous apporte par exemple une pointe de l\u00e9g\u00e8ret\u00e9 gr\u00e2ce \u00e0 sa rencontre avec Paul, car de <em>dark<\/em> et blas\u00e9e, elle va reprendre des couleurs (au sens figur\u00e9) et aiguiser son app\u00e9tit (et ses dents) pour la vie, de sorte qu\u2019elle va devenir une jeune figure bienveillante, une sorte de vampire 2.0 bien plus respectueuse de sa nourriture.<\/p><p>Ce qui n\u2019est pas vraiment le cas d\u2019Abigail dans le film \u00e9ponyme, qui elle s\u2019amuse comme une folle \u00e0 d\u00e9vorer et massacrer ses ravisseurs bras cass\u00e9s. Le c\u00f4t\u00e9 enfantin propos\u00e9 par ce personnage en devient purement comique et marrant, quitte \u00e0 en faire des tonnes. <em>Abigail<\/em> a ainsi la force de d\u00e9tourner \u00e0 l\u2019extr\u00eame le c\u00f4t\u00e9 peut-\u00eatre absurde mais surtout hyper violent du mythe du vampire, v\u00e9ritable m\u00e9taphore du go\u00fbt de l\u2019humanit\u00e9 pour le sang \u2013 que ce soit par les conflits inter-personnels ou les guerres aux quatre coins du monde.<\/p><p>Somme toute, l\u2019image du vampire projette et kal\u00e9idoscope toutes les beaut\u00e9s et tous les travers de nos soci\u00e9t\u00e9s, ce qui en fait une figure universelle et transposable dans tous types d\u2019intrigue, quitte \u00e0 d\u00e9border du cadre initial du cin\u00e9ma d\u2019horreur. Et ce qu\u2019ont tr\u00e8s bien compris Robert Eggers, Ariane Louis-Seize, C\u00e9line Rouzet, Matt Bettinelli-Olpin et Tyler Gillett en 2024.<\/p><p>Pour conclure cette r\u00e9trospective horreur, soulignons donc l\u2019\u00e9clectisme tant visuel que th\u00e9matique des films sortis en 2024, avec quelques gros coups de c\u0153ur pour \u00ab\u00a0<em>Longlegs\u00a0\u00bb<\/em>, \u00ab\u00a0<em>The Substance\u00a0\u00bb<\/em> et \u00ab\u00a0<em>Smile 2\u00a0\u00bb<\/em>, aux registres pourtant bien diff\u00e9rents. Par ailleurs, mettons en avant aussi un certain <em>girl power<\/em> dans les longs-m\u00e9trages horrifiques de cette ann\u00e9e, la majorit\u00e9 des intrigues cit\u00e9es ici \u00e9tant port\u00e9es non pas par des h\u00e9ros mais par des h\u00e9ro\u00efnes devenues pour certaines iconiques. Enfin, il faut aussi souligner quelques autres films int\u00e9ressants qui ont pu ravir ou diviser le public tels que \u00ab\u00a0<em>Night Swim\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>I Saw the TV Glow\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>Imaginary\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>Heretic\u00a0\u00bb<\/em> ou encore \u00ab\u00a0<em>Terrifier 3\u00a0\u00bb<\/em>. Quant \u00e0 2025, sera-t-elle aussi riche que cette ann\u00e9e\u00a0? Quelques sorties semblent en effet valoir le d\u00e9tour\u00a0: \u00ab\u00a0<em>Wolf Man\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>Le Singe\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>The Black Phone 2\u00a0\u00bb<\/em>\u00a0; \u00ab\u00a0<em>Five Nights at Freddy\u2019s 2\u00a0\u00bb<\/em> et, celui qui s\u2019av\u00e8re probablement le plus intrigant du fait de l\u2019excellence de son premier volet\u00a0: \u00ab\u00a0<em>M\u039eGAN 2.0\u00a0\u00bb<\/em> \u2026<\/p><p>Axel Chevalier<\/p><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<div class=\"elementor-element elementor-element-42480e6 elementor-widget__width-initial exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-text-editor\" data-id=\"42480e6\" data-element_type=\"widget\" data-widget_type=\"text-editor.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t<div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\">\u00a0<\/div><\/div><div class=\"x11i5rnm xat24cr x1mh8g0r x1vvkbs xtlvy1s x126k92a\"><div dir=\"auto\"><p style=\"text-align: left;\">If 2023 had already delivered some innovative and striking horror films \u2013 such as the gritty and intriguing \u201cM\u039eGAN\u201d, \u201c The Hand\u201d, \u201cInfested\u201d and \u201cGueules noires\u201d\u2013, 2024 stands out as a rich year in the horror genre, with several pearls and occasionally groundbreaking releases. Admittedly, virtually all of the year&rsquo;s feature-length horrific films were based on the tried-and-tested codes of violence, but there were a few standouts (I). As a result, the monster figure is (logically) back in the spotlight, albeit with an abundance of incarnations and interpretations (II). One mythical creature in particular is enjoying a real revival, thanks to at least four good films (not all of them purely in the horror genre): the vampire (III).<\/p><p><strong>I. The conventional violence of every kind<\/strong><\/p><p>Let&rsquo;s start, then, with the expected and recurring presence of violence in the horror films of 2024. In this genre, violence is just as important a leitmotif as fear, but its on-screen incarnation has sometimes been surprising and\/or exhilarating. In fact, there are two main categories (not completely separate, of course) of horror films: those that play on physical violence (e.g. gory or body horror stories) and those that play on psychological violence (e.g. spiritistic plots or certain thrillers). And in both cases, 2024 did not disappoint.<\/p><p>When it comes to physical violence, blood obviously colors the screen in many horror films. In most cases, sequences dripping with red are limited to a few rather striking scenes: The brutal heel strike of the eponymous heroine of \u201cMaXXXine\u201d into the genitals of a pervert, the screaming, close-up delivery of Sydney Sweeney&rsquo;s face in \u201cImmaculate\u201d, the axe blows to the skull of a victim of evil in \u201cWhen Even Lurks\u201d, or the suicide on a table of the disturbing key character of \u201cLonglegs\u201d \u2013 what delightful moments! But some films go even further, blowing their hemoglobin levels sky-high: \u201cSmile 2\u201d and its gruesome deaths, \u201cAbigail\u201d and the bloodthirsty delirium of its anti-heroine, and of course \u201cThe Substance\u201d with the spectacular decay of Elizabeth and Sue&rsquo;s bodies. In these three films in particular, the over-exposure of blood and other viscous secretions is done with a certain amount of humor, something not necessarily sought after in the other features mentioned just before, and even less so in those that aim to be more psychic.<\/p><p>When it comes to psychological violence, some of 2024&rsquo;s productions could not be more disturbing. Starting with \u201cLonglegs\u201d, whose style and substance are extremely disturbing, combining murder, the occult, doubt and madness in an atypical, jerky visual and sound design. Another film with a strikingly morbid aspect \u2013 and one that even goes beyond the horror stage \u2013 is \u201cRed Rooms\u201d, where all the violence lies in the context, the glances of its enigmatic characters and the off-screen that terribly stimulates our imagination. More generally \u2013 and perhaps less consistently \u2013 all the features involving issues of a more paranormal or psychic nature this year created atmospheres creepy enough to be frightening: this was the case with \u201cNever Let Go\u201d, \u201cThe First Omen\u201d and \u201cAmelia&rsquo;s Children\u201d, for example.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-8093 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/02\/Snapshot_725-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>Both types of horror film (in terms of violence) share a common denominator: the notion of trauma, be it past, present or future, and be it that of a character and\/or the audience. Indeed, entire plots are based on the traumas of their protagonists: some are simply created by the scripts (like Frida&rsquo;s in \u201cBlink Twice\u201d or Skye&rsquo;s in \u201cSmile 2\u201d), others are reactivated (like Ellen&rsquo;s in \u201cNosferatu\u201d or Lee&rsquo;s in \u201cLonglegs\u201d), while some others are recaptured (like those of Cooper&rsquo;s victims in \u201cTrap\u201d or the serial killer in \u201cRed Rooms\u201d). These emergent and re-emergent disturbances manage to convey themselves to the audience in three different ways \u2013 in addition to their elaborate staging: the actions and reactions of traumatized characters (the shrill, shuddering cries of Lee in \u201cLonglegs\u201d or Ellen in \u201cNosferatu\u201d, the terror in Skye&rsquo;s eyes in \u201cSmile 2\u201d, the desperate madness of Elisabeth in \u201cThe Substance\u201d), the use of suggestion (the invisible monsters of the gloomy forest in \u201cNever Let Go\u201d, the strict, strange rules of the bunker in \u201cThe Watchers\u201d, the never-before-seen videos of \u201cRed Rooms\u201d), or conversely, the erosion of sequences that are often very short, even typical of music videos, but very explicit and brutal (as in \u201cBlink Twice\u201d, \u201cAmelia&rsquo;s Children\u201d or \u201cLonglegs\u201d). And all good horror films are first and foremost good at conveying to the audience the fear felt by their heroines, whether faced with their own demons or much more real monsters, which is what the films listed so far successfully do.<\/p><p><strong>II. The multifaceted figure of a monster<\/strong><\/p><p>Monsters and other incarnations of evil have a special place in many of the 2024 movies. As a truly multi-faceted figure in both cinema and art in general, the monster takes on a variety of realities, whether tangible, fantasized or frighteningly (in)human.<\/p><p>After the oppressive anthology of venomous arachnids that blew us away in \u201cInfested\u201d, some of last year&rsquo;s films also managed to give us a few shivers with their pretty beasts. In the post-apocalyptic genre, of course, we find the hyper-sensitive super-predators of \u201cA Quiet Place: Day 1\u201d, who had already troubled us in the saga&rsquo;s first two installments \u2013 although it should be noted that they were more stealthy and less present than in this prequel. The same goes for our beloved xenomorphs, who made \u201cAlien\u201d a staple of horrific sci-fi, and whose return to the screen in \u201cAlien: Romulus\u201d is both a refreshment and a rehash of the main theme of the first two installments of the feature film series &#8211; although seeing these fascinating monsters again, first designed as animatronics, is always fun, even in a film that&rsquo;s perhaps a little less deep script-wise. As far as folk creatures are concerned, let&rsquo;s salute the rather good ideas infused (albeit perhaps not enough) in \u201cThe Watchers\u201d, where the mythology of fairies and halfelins is modernized alongside a kind of contemporary, transhumanist chemistry, all in a classic but well-blended atmosphere. Finally, at the crossroads between psychological horror and physical horror, the deformed, smiling demon from \u201cSmile 2\u201d makes another masterful appearance at the climax of this second film, confirming and enhancing the psychotic terror created by this monster, only visible to one character at a time.<\/p><p>Nevertheless, invisible and intangible creatures also have their place in the fears and anxieties generated by some of the films of 2024. The various and repeated reinterpretations of the figure of the Devil and his henchmen in religious or esoteric intrigues are always prominent, particularly in \u201cThe First Omen\u201d, \u201cImmaculate\u201d and \u201cAmelia&rsquo;s Children\u201d, but other monsters seem all the more terrifying precisely because we can&rsquo;t see them and can barely make them out. The whole of the first part of \u201cThe Watchers\u201d is built up in such a way that we come to doubt the existence of these chimeras, despite the slew of blows, screams and crashes they cause at nightfall, behind the tintless mirror of this mysterious shelter. But it&rsquo;s really in \u201cNever Let Go\u201d that the ambiguity of the evil monsters&rsquo; reality questions us, even right up to the end of the film, when it&rsquo;s impossible to come up with a clear-cut answer to the question \u201cWhat is this evil that only the mother sees? Could this evil be a pure invention or a personalization of this woman&rsquo;s madness?<\/p><p>By contrast, other 2024 horror films are more explicit about the nature of the monsters they bring to the screen; and very often, these monsters are frighteningly human, on a variety of scales.<\/p><p><img decoding=\"async\" class=\"alignnone wp-image-11241 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/06\/Snapshot_1382-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>First, there are the psychopathic monsters, whose chilling portraits repel us as much as they fascinate us with their realism and complexity. Starting with the seductively foul Slater King in \u201cBlink Twice\u201d \u2013 whose story is more than a nod to the perverse, obscene and destructive behavior of a myriad of influential men in Hollywood and elsewhere. But it is above all the almost mythical figure of Longlegs in the film of the same name that disturbs and hypnotizes, whether for his desperate appearance, his delirious actions or the absolute darkness he inspires, even in snowy landscapes. And yet, these two men are merely the source and consequence of inter-personal and social violence, which is all the more disturbing because we can find a certain disturbing echo in them, sometimes even identifying with these immoral figures.<\/p><p>This is why, secondly, in many of the 2024 films, there are depictions of the monsters we enclose, give birth to and embody \u2013 symbolically as well as physically. In many of the films, human beings are depicted as having the potential to do violence to others and to themselves, be they insane, conscious or unconscious. For example, in the Korean feature \u201cSleep\u201d, it&rsquo;s sleepwalking that reveals some of our bloodthirsty impulses, while the iconic Maxine Minx is totally unaffected by her threatening fellow human beings \u2013 not least because the society in which she lives is characterized by systematic, multi-faceted violence. But the hatred that anyone can express towards their fellow man is sometimes even stronger towards their own being; this is exemplified by Elisabeth in \u201cThe Substance\u201d, whose hatred of her own aging, anti-sexualized body drives her to destroy herself more and more in order to be illusorily reborn as another woman who is no better than she is and who denies her \u2013 all in all, the monster we think we are makes us give birth to, or act like, real monsters.<\/p><p>However, even without acting in a fundamentally evil way, there are monsters that we can all be, especially morally. One film in particular stands out here: \u201cRed Rooms\u201d. For the silent, determined Kelly-Anne &#8211; and, to a lesser extent, the baffling groupie named Clementine \u2013 both caught up in a more than questionable and excessively unhealthy fascination with the unheard-of murders of a serial killer, remind us that everyone hides sinister, unavowable passions deep down inside, the mere mention of which questions our relationship with a certain kind of morality and society.<\/p><p>All these monstrosities, so dear to horror films, are well and truly represented in the 2024 line-up, in all forms (human or otherwise) and sometimes brilliantly so. One unavoidable monstrous creature, however, is particularly well reinterpreted and updated: the vampire.<\/p><p><strong>III. The revival of the vampire myth<\/strong><\/p><p>The vampire myth, which has its roots in Central and Eastern Europe, first appeared in the early 18th century, along with a number of legends about alleged ghosts in the flesh who haunted their villages after death. According to the earliest evocations of this creature, whose folkloric origins are more Slavic, vampires were initially and above all buried dead who, after dark, drank the blood of their victims. Vampires were first popularized in the rest of Europe in the 19th century through literature, with John Polidori&rsquo;s \u201cThe Vampyre\u201d in 1819 and, of course, Bram Stoker&rsquo;s \u201cDracula\u201d in 1897. But it was the motion picture industry that really made the vampire an icon, enabling the horror genre to enjoy spectacular success from the very beginnings of the seventh art form in the past century.<\/p><p>One film in particular, which has become a benchmark in the field, has considerably extended the prestige of the vampire figure: Friedrich Wilhelm Murnau&rsquo;s \u201cNosferatu : A Symphony of Horror\u201d, released in 1922. At the height of the German Expressionist movement, this feature-length film, (not so) freely adapted from Bram Stoker&rsquo;s novel, definitively cemented the international popularity of this monster in our collective imagination, so much so that over the decades, numerous films and TV series have regularly recycled this myth. Examples include \u201cBuffy the Vampire Slayer\u201d, the \u201cTwilight\u201d saga, the film \u201cInterview with the Vampire\u201d and Tim Burton&rsquo;s universe.<\/p><p>But the vampire&rsquo;s extremely rich and multi-faceted symbolism can also be found in more recent productions, such as Robert Eggers&rsquo; \u201cNosferatu\u201d, the second remake of Murnau&rsquo;s film (after Werner Herzog&rsquo;s \u201cNosferatu, the Vampyre\u201d). Eggers&rsquo; \u201cNosferatu\u201d goes back to the literary roots of the now mythical figure, and follows in the footsteps of the mysterious, frightening darkness embodied by vampires, at the crossroads of life, death, madness and violence, all set in the original lands of Mitteleuropa (from a Carpathian castle to a small German town, via a Bohemia populated by gypsies).<\/p><p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-16590 size-full\" src=\"http:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736.png\" alt=\"\" width=\"1500\" height=\"775\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736.png 1500w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/12\/Snapshot_2736-768x397.png 768w\" sizes=\"(max-width: 1500px) 100vw, 1500px\" \/><\/p><p>In 2024&rsquo;s \u201cNosferatu\u201d, the vampire brings plague, sorrow and despair to all humanity, as Ellen&rsquo;s character so aptly illustrates. The vampire&rsquo;s appearance is thus ambivalent, at once close to the human being but in his worst nightmares: an emaciated, putrefied silhouette that is nonetheless minimally attractive, slow, menacing movements that are nonetheless poetic and graceful, animal and bestial desires that are nonetheless conceivable and understandable&#8230;<\/p><p>Given our proximity to the monster, it seems almost natural to identify with it and humanize it a little more than we do in the earliest legends. The dramas and tragedies that vampires bring can thus come from their own questioning and suffering. This is well illustrated by the two characters of Sasha in \u201cHumanist Vampire Seeks Consenting Suicidal Person\u201d and Philemon in \u201cFor Night Will Come\u201d. Both are in the midst of adolescent and existential crises, but while one, is prey to moral questions about how to avoid harming the human beings she must necessarily feed on to survive, the other, suffers deep down from his specificity, which he can&rsquo;t fight despite the support of his loved ones. In this sense, vampires are no longer simply a reflection of our anxieties and misfortunes: they embody them, which means they are no longer simply a monstrous figure. We even end up becoming attached to Sasha and Philemon, who share many of the same themes: the fear of rejection and difference, the difficulty of finding one&rsquo;s place in a world that is often brutal, and the desire for love to fill the hole we dig for ourselves.<\/p><p>Vampires&rsquo; tragic yet humanizing potential can therefore be diverted infinitely, even to the other side of the emotional spectrum, to make us laugh and smile.<\/p><p>Sasha, an authentic teenager in \u201cHumanist Vampire Seeks Consenting Suicidal Person\u201d, for example, brings us a touch of levity thanks to her encounter with Paul, as she goes from being dark and jaded to regaining her colors (figuratively speaking) and whetting her appetite (and her teeth) for life, so that she becomes a benevolent young figure, a kind of vampire 2.0 who is much more respectful of her food.<\/p><p>This is hardly the case with Abigail in the film of the same name, who has the time of her life devouring and slaughtering her helpless captors. The childlike quality of this character becomes pure comedy, even if it means overdoing it. Abigail&rsquo;s strength lies in her ability to turn the perhaps absurd, but above all hyper-violent side of the vampire myth to its extreme, a true metaphor for mankind&rsquo;s taste for blood \u2013 whether through inter-personal conflicts or wars in the four corners of the globe.<\/p><p>All in all, the image of the vampire projects and reflects all the beauties and shortcomings of our society, making it a universal figure that can be transposed into any type of plot, even if it means going beyond the initial framework of horror cinema. And this is exactly what Robert Eggers, Ariane Louis-Seize, C\u00e9line Rouzet, Matt Bettinelli-Olpin and Tyler Gillett understood so well in 2024.<\/p><p>To conclude this horror roundup, we&rsquo;d like to emphasize the visual and thematic eclecticism of the films released in 2024, with a number of highlights including \u201cLonglegs\u201d, \u201cThe Substance\u201d and \u201cSmile 2\u201d, all in very different styles. There was also a certain amount of girl power in this year&rsquo;s horrific features, with the majority of the plots mentioned here being carried not by heroes but by heroines, some of whom have since become iconic. Finally, we should also mention a few other interesting films that may have delighted or divided audiences, such as \u201cNight Swim\u201d, \u201cI Saw the TV Glow\u201d, \u201cImaginary\u201d, \u201cHeretic\u201d and \u201cTerrifier 3\u201d. As for 2025, will it be as rich as this year? A few releases seem to be worth checking out: \u201cWolf Man\u201d; \u201cThe Monkey\u201d; \u201cThe Black Phone 2\u201d; \u201cFive Nights at Freddy&rsquo;s 2\u201d and, probably the most intriguing of them all given the excellence of its first installment: \u201cM\u039eGAN 2.0\u201d &#8230;<\/p><p>Axel Chevalier<\/p><\/div><\/div><div dir=\"auto\">\u00a0<\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div><\/div>\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-e213b9d elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"e213b9d\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container 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data-id=\"87e8b5e\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-a3e94e1 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-image\" data-id=\"a3e94e1\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t<style>\/*! elementor - v3.20.0 - 20-03-2024 *\/\n.elementor-widget-image{text-align:center}.elementor-widget-image a{display:inline-block}.elementor-widget-image a img[src$=\".svg\"]{width:48px}.elementor-widget-image img{vertical-align:middle;display:inline-block}<\/style>\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/rsgproduction.fr\/?p=16644\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"155\" src=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/Snapshot_2882-300x155.png\" class=\"attachment-medium size-medium wp-image-16817\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/Snapshot_2882-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/Snapshot_2882-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/Snapshot_2882-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2025\/01\/Snapshot_2882.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Nos Top 10 Films 2024<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t<div class=\"elementor-column elementor-col-50 elementor-top-column elementor-element elementor-element-e2bc5d0 exad-glass-effect-no exad-sticky-section-no\" data-id=\"e2bc5d0\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-86dc178 exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-image\" data-id=\"86dc178\" data-element_type=\"widget\" data-widget_type=\"image.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t\t\t\t\t\t<figure class=\"wp-caption\">\n\t\t\t\t\t\t\t\t\t\t\t<a href=\"https:\/\/rsgproduction.fr\/?p=14505\">\n\t\t\t\t\t\t\t<img loading=\"lazy\" decoding=\"async\" width=\"300\" height=\"155\" src=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2135-300x155.png\" class=\"attachment-medium size-medium wp-image-14734\" alt=\"\" srcset=\"https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2135-300x155.png 300w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2135-1024x529.png 1024w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2135-768x397.png 768w, https:\/\/rsgproduction.fr\/wp-content\/uploads\/2024\/11\/Snapshot_2135.png 1500w\" sizes=\"(max-width: 300px) 100vw, 300px\" \/>\t\t\t\t\t\t\t\t<\/a>\n\t\t\t\t\t\t\t\t\t\t\t<figcaption class=\"widget-image-caption wp-caption-text\">Yip Man et le cin\u00e9ma<\/figcaption>\n\t\t\t\t\t\t\t\t\t\t<\/figure>\n\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<section class=\"elementor-section elementor-top-section elementor-element elementor-element-d28d6b8 elementor-section-boxed elementor-section-height-default elementor-section-height-default exad-glass-effect-no wpr-particle-no wpr-jarallax-no wpr-parallax-no wpr-sticky-section-no exad-sticky-section-no\" data-id=\"d28d6b8\" data-element_type=\"section\">\n\t\t\t\t\t\t<div class=\"elementor-container elementor-column-gap-default\">\n\t\t\t\t\t<div class=\"elementor-column elementor-col-100 elementor-top-column elementor-element elementor-element-da1cf23 exad-glass-effect-no exad-sticky-section-no\" data-id=\"da1cf23\" data-element_type=\"column\">\n\t\t\t<div class=\"elementor-widget-wrap elementor-element-populated\">\n\t\t\t\t\t\t<div class=\"elementor-element elementor-element-7a2941b exad-sticky-section-no exad-glass-effect-no elementor-widget elementor-widget-spacer\" data-id=\"7a2941b\" data-element_type=\"widget\" data-widget_type=\"spacer.default\">\n\t\t\t\t<div class=\"elementor-widget-container\">\n\t\t\t\t\t<div class=\"elementor-spacer\">\n\t\t\t<div class=\"elementor-spacer-inner\"><\/div>\n\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t<\/div>\n\t\t","protected":false},"excerpt":{"rendered":"<p>R\u00e9trospective &#8211; Films d&rsquo;horreur \u00a0 Revisiting the 2024 horror films \u00a0 [Dossier] \u00a0 2024 FR\u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0 \u00a0EN \u00a0 Si 2023 avait d\u00e9j\u00e0 propos\u00e9 des films d\u2019horreur innovants et marquants \u2013 comme les truculents et intrigants \u00ab\u00a0M\u039eGAN\u00a0\u00bb, \u00ab\u00a0La Main\u00a0\u00bb, \u00ab\u00a0Vermines\u00a0\u00bb ou encore \u00ab\u00a0Gueules noires\u00a0\u00bb \u2013, 2024 s\u2019impose comme une &hellip;<\/p>\n<p class=\"read-more\"> <a class=\"\" href=\"https:\/\/rsgproduction.fr\/?p=17028\"> <span class=\"screen-reader-text\">R\u00e9trospective Horreur 2024 [Dossier]<\/span> Lire la suite\u00a0\u00bb<\/a><\/p>\n","protected":false},"author":1,"featured_media":17031,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"elementor_header_footer","format":"standard","meta":{"_acf_changed":false,"_eb_attr":"","om_disable_all_campaigns":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"set","footnotes":""},"categories":[22],"tags":[],"class_list":["post-17028","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-non-classe-en"],"acf":[],"aioseo_notices":[],"_links":{"self":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/17028"}],"collection":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=17028"}],"version-history":[{"count":19,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/17028\/revisions"}],"predecessor-version":[{"id":17222,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/posts\/17028\/revisions\/17222"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=\/wp\/v2\/media\/17031"}],"wp:attachment":[{"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=17028"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=17028"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/rsgproduction.fr\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=17028"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}