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Audience for Ti West’s Horrible and Effective Retro Shock x – in which the porn filmmakers meet a murderous old peasant woman in 1979 – were doubly stunned by the credits. First, there was the reveal that “ultimate girl” Maxine and retirement-age mass murderer Pearl were played (remarkably) by Mia Goth. Then there was a trailer for a pearl-centric prequel that West and Goth (who co-wrote pearl) produced before the release of the first film. This may seem presumptuous or inadvisable, how to do jester, but with a newly minted character that has yet to find its way into pop culture. Various entries in Texas chainsaw deductible (to which x has a large debt acknowledged) stumbles counting more than anyone cares where Leatherface is from.

In case, pearl not an exercise in filmmakers making their own fan fiction, but rather the ambitious and impressive centerpiece of what is now revealed to be a trilogy. The children will reunite next year MaXXXinewhich takes up the story of Maxine in 1985. Ti West has always enjoyed recreating the fashions of the films of the past: 2009 The house of the devilhis breakthrough film, was a perfect pastiche of 70s TV horror film, and in a valley of violence (2016) is a Western thriller, as it finds ways to connect the pop culture of the past with the things that scare us today. pearl is set during the Spanish flu epidemic of 1918, but the characters (who wear masks to venture into the city) suffer from many of the problems of the modern lockdown era. Even Pearl’s isolated dream of becoming a movie star seems as close to today’s aspiration for YouTube fame or influencer status as the undying desire of country girls to be encouraged by the rainbows-sky, as shown in classic Hollywood .

West never lets the viewer forget that this is a new old movie. The opening credits, a still image of smiling Pearl feeding a forked goose to her best friend the alligator, are written in swirling pink typeface. The nearly continuous orchestral score by Tyler Bates and Timothy Williams is a romantic counterpoint to the onscreen action. Pearl herself constantly references the movies (she names her cows after movie stars) and runs away against her mother’s (Tandi Wright) wishes, to spend money at the local cinema. With her husband (Alistair Sewell) abroad – she imagines him happily waving his hand when he gets home, stepping on a landmine in their garden and bloodied to pieces – Pearl finds herself drawn to a ridiculously handsome (David Corenswet). In her secret film stash is a stag reel that foreshadows the debauchery of the Deep Throat era of xit will rekindle Pearl’s sexual fantasies and murderous instincts.

Pearl dances with a scarecrow and steals her top hat for her prom dress, but West and Goth get another ounces and to present it as the expression of a frustrated sexuality and a seething mania. For example x improvised elements of 1970s horror and sexual exploitation films, pearl Horror movie references in the mind of a maniac. A cooked pig left on the porch, which Pearl’s hungry but proud mother won’t eat because it’s a charity gift from her son-in-law’s family, decomposes and crawls with rabbit-like worms along with Catherine Deneuve’s depressive mindset. Repulsion. Pearl sometimes seems destined to become Norman Bates’ mother, and a painting of corpses around the table evokes this Psychopath, The Texas Chainsaw Massacre and the slightly less conventional domestic horror hit disturbances. The ruined farm x seen here 60 years ago, with a new lick of paint, but this meat-hungry alligator is already hiding in the estate lake, and Pearl is on his way to becoming a magnificent monster.

In recent years, there has been a tradition for actresses to land leading roles in horror films: Essie Davis in the baboonToni Collette in HereditaryRebecca Hall inside The house of the night. Goth, whose lineup includes Lars von Trier (Nymphomaniac) and Jane Austen (emma.), is an incredible addition to this company. At a turning point, Pearl demands to know why the projectionist is no longer attracted to her, and the adult replies like a child, “You scare me.” Goth doesn’t just scare us, with a sensational soliloquy addressed to her absent husband, eloquent physical actions in dance scenes and murders (she is an agile performer like the robot girl in M3GAN) – and a final smile more terrifying than any smirk Smileperhaps equal to the smile on Mrs. Bates’ mummified skull.