Wire report
The Face of Horror review – a future cult classic delights with playful spin on Hammer horror
London film festival Anna Biller’s intricate tribute to the British 1960s genre plays melodrama for laughs and pulls it off wonderfully in a medieval tale based on a Japanese ghost story There’s over-the-top … and there’s this playfully bizarre new film from US indie film-maker and genre connoisseur Anna Biller, whose previous film The Love Witch first alerted me to her ecstatic love of style, surface and the A-pleasures of the B-movie. The Face of Horror is a deadpan homage to the garish Technicolor horror pictures of Britain’s Hammer Films in the Peter Cushing 1960s, with an extraordinary visual emphasis on red velvet, whose Freudian significance can only be guessed at. Perhaps it’s not accurate to call it pastiche – in any event, the advent of AI has arguably undermined the value of skilled pastiche in movies and literature. It is more an attempt simply to make another film in the sam
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London film festival Anna Biller’s intricate tribute to the British 1960s genre plays melodrama for laughs and pulls it off wonderfully in a medieval tale based on a Japanese ghost story There’s over-the-top … and there’s this playfully bizarre new film from US indie film-maker and genre connoisseur Anna Biller, whose previous film The Love Witch first alerted me to her ecstatic love of style, surface and the A-pleasures of the B-movie. The Face of Horror is a deadpan homage to the garish Technicolor horror pictures of Britain’s Hammer Films in the Peter Cushing 1960s, with an extraordinary visual emphasis on red velvet, whose Freudian significance can only be guessed at. Perhaps it’s not accurate to call it pastiche – in any event, the advent of AI has arguably undermined the value of skilled pastiche in movies and literature. It is more an attempt simply to make another film in the sam
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According to The Guardian’s source item, The Face of Horror review – a future cult classic delights with playful spin on Hammer horror, London film festival Anna Biller’s intricate tribute to the British 1960s genre plays melodrama for laughs and pulls it off wonderfully in a medieval tale based on a Japanese ghost story There’s over-the-top … and there’s this playfully bizarre new film from US indie film-maker and genre connoisseur Anna Biller, whose previous film The Love Witch first alerted me to her ecstatic love of style, surface and the A-pleasures of the B-movie. The Face of Horror is a deadpan homage to the garish Technicolor horror pictures of Britain’s Hammer Films in the Peter Cushing 1960s, with an extraordinary visual emphasis on red velvet, whose Freudian significance can only be guessed at. Perhaps it’s not accurate to call it pastiche – in any event, the advent of AI has arguably undermined the value of skilled pastiche in movies and literature. It is more an attempt simply to make another film in the sam
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The development sits in VINI’s Culture file for readers following arts, entertainment, fashion, film, music, celebrity, and the business of culture. The original report is linked so readers can check the source account, follow later updates, and compare new coverage against the first published record. The source item is dated 2026-10-16T05:30:51+00:00.
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Primary source: The Face of Horror review – a future cult classic delights with playful spin on Hammer horror via The Guardian. VINI cites and links the source; it does not reproduce the publisher’s full article text without rights clearance.
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- The Face of Horror review – a future cult classic delights with playful spin on Hammer horrorThe Guardian - 2026-10-16T05:30:51+00:00
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