A collection of Ari Aster’s horror movie recommendations

Proving himself to be a contemporary master of horror with every release, Ari Aster has contributed some masterful genre filmmaking to conclude the 2010s and give hope to horror in the 2020s. Known for the chilling Hereditary and the artistic yet disturbing Midsommar, the director knows no bounds in terrifying his audience through suspense or shocking visuals. 

Speaking with The Verge in 2018, Aster shared the origin of his love for horror: “I just exhausted the horror section of every video store I could find. I didn’t know how to assemble people who would cooperate on something like that. I found myself just writing screenplays.” His debut short film, Tale of Two Tims, introduced him to a fellowship into the graduate directing program at the AFI Conservatory, following this with his breakout short, The Strange Thing About the Johnsons. 

This short demonstrated the filmmaker’s refusal to tell stories that abide by social conventions and normality, violating the audience’s understanding through his unsettling presentation of the subject matter. Aster only elevated this approach to filmmaking with his features, filling his films’ runtime with unnerving visuals and extreme concepts. 

The filmmaker has been open about pulling inspiration from the timeless horror pictures that came before him. He has also given a list of recommendations that define and shape the genre, including classic films from the 1960s. 

Aster’s list includes an outstanding feature of the horror genre, hailed as a cinematic masterpiece rather than just a horror one. Rosemary’s Baby is the 1969 adaptation of Ira Levin’s 1967 novel of the same name, directed by Roman Polanski. The film stars Mia Farrow and John Cassavettes as a couple who have just moved into a Manhattan apartment. Once the wife, Rosemary, falls pregnant, she suddenly becomes suffocated by her partner and elderly neighbours, who conceal a monstrous secret concerning Rosemary’s baby. 

Polanski’s film is a testimony to channelling effective terror and tension in horror filmmaking, unnerving audiences with its ambiguity and mystery. Once the horrific truth is revealed, the film is thrown into a hectic state of utter chaos, providing a layered and versatile watch that encapsulates a unique vision. With brilliant performances, compelling camera work and immersive editing, Rosemary’s Baby is a masterclass in genre filmmaking and storytelling as a whole. 

The Hereditary director keeps his list varied with different approaches to horror storytelling, including the Japanese anthology film Kwaidan. This 1964 chiller was directed by Masaki Kobayashi and is based on stories from Lafcadio Hearn’s collections of Japanese folk tales, presenting four unrelated horror stories. 

With tales including a samurai regretting leaving his wife for a new one and a talented musician being forced to perform for ghostly entities, Kwaidan is a high-class horror feature exhibiting some fantastic imagery and tone. It transcends restrictive expectations of its genre in its beautiful composition and inventive employment of colour, reading as visual poetry. Kobayashi’s camerawork is attentive and bold, showcasing a cinematic feast. 

Furthermore, Aster pays tribute to an underrated gem in the horror community. The Night of the Hunter was released in 1955 and directed by Charles Laughton, starring Robert Mitchum as a faux minister who lives a double life as a serial killer. Mitchum’s character cooks up a scheme to fleece a widow out of $10,000.

After its initial release, Laughton’s film met some unjust negative reviews and citations of pretentious and shallow genre filmmaking led the director never to create another feature. However, The Night of the Hunter has recieved a re-assessment and is now recognised as a thrilling and sinister watch, presenting some chilling imagery and terrific acting. The film is a classic and disturbing horror that has fought for its status in the genre. 

Lastly, Polanski’s psychological feature, Repulsion, features in Aster’s recommendations. An unwell young woman is left alone in the apartment she shares with her sister and experiences nightmarish visions. The film starred Catherine Deneuve, Ian Hendry, John Fraser, Patrick Wymark, and Yvonne Furneaux and debuted at the 1965 Cannes Film Festival. 

Repulsion demonstrates the terror of losing control of your mind and surroundings, which defines the horror genre. Polanski’s film unnerves the viewer by refusing to define the protagonist’s reality and delusion, eliminating a safety net where rules maintain security. Paranoia infiltrates every seam of this film’s composition, alienating viewers from a sense of stability and the ability to trust anything they see. 

Check out Aster’s complete list below. 

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