Releasing two films within six months can feel like a triumph in itself, and when one turns out to be a surprise phenomenon while the other earns major accolades, the momentum becomes unmistakable. The praise for Martin Scorsese is part of this conversation, as he remains a restless observer of American independent cinema. The class of 2022 still resonates, with directors such as Adam Wingard, Simon Barrett, and the Radio Silence collective pushing the boundaries of terror on modest budgets and proving that ambitious storytelling can outpace budget constraints. This cohort continues to redefine how fear is crafted for contemporary audiences.
The sleeper hit referenced earlier is X, a personal homage to seventies exploitation cinema. Mia Goth embodies a dual persona: a preacher’s daughter who becomes a porn performer, and the memory of an older killer. Pearl, presented at The Official Fantàstic Contest, follows a young woman who longs for a life beyond the one she was given and will go to any lengths to obtain it. The blend of midcentury melodrama with a slasher impulse captivated Scorsese, who called the film wild, fascinating, and deeply disturbing in a way that lingers long after the credits roll. (Citation: contemporary cinephile conversations and festival reflections)
Eduardo Casanova: “My reference for making movies is real life, that’s exactly what I hate”
West found a complementary partner in Goth to expand the universe. “During the production of X, we collaborated closely on the creation of Pearl. While Pearl’s early appearance cast her as a mysterious antagonist, Mia’s path to understanding the character’s past required dialogue and discovery. Those conversations helped shape Pearl into who she became, and it was natural for Mia to join as the screenwriter for the second film.” A third chapter, MaXXXine, is planned as a direct continuation of X. (Citation: interviews and behind‑the‑scenes discussions)
the value of marketing
Hollywood’s Golden Age still serves as a touchstone for many in the West, but the standout revelation came with X, a 2009 release that paid homage to 1970s horror flavors: babysitters, demonic threats, and a sense of encroaching danger. The series later expanded with Seed of the Devil and Thriller!, among others, films that deserved broader attention. The path to mainstream success, West notes, often required strategic investment in marketing. A24’s ability to allocate substantial resources for promotion and placement played a crucial role in bringing these intimate, low‑budget visions to a wider audience. The point is simple: powerful cinema can find its over‑the‑top moment when it is backed by thoughtful publicity. (Citation: industry analysis and press summaries)
Series director and very honored
After venturing into the Western with Valley of Vengeance, West turned to episodic television, leaning into fantasy and otherworldly storytelling for six years from 2015 to 2021. Was the shift a necessity or a deliberate choice to indulge a craftsman’s urge to experiment? He suggests both. “I had a lot of fun and will continue to make television,” he stated with conviction. “There’s something thrilling about slipping into someone else’s drama almost overnight and helping them uncover what they’re seeking. I’ve learned a great deal—after fifteen episodes in five years, there isn’t a single movie set that I don’t understand.”
Among those ten and a half episodes, his most enduring contribution remains the poetic sci‑fi series Historias del Loop. Nathaniel Halpern, the showrunner, brought a remarkable talent to the project, crafting every script and guiding a skilled cast. The finished work deserved a wider audience, with many feeling it should have reached more viewers. (Citation: contemporary TV industry commentary)