Viewers forget all the time that, as Anna Karina’s “Pierrot Le Fou” character Marianne Renoir says: “There can be ideas in feelings.” How can films that fire your adrenal glands, send shivers down your spine, raise goosebumps, and quicken your breath - that inspire such an intense physical reaction - also be cerebral experiences? The answer is obvious enough. The general gist is that these exceptions to the “horror is bad” rule engage your brain more than just showing brains: eaten by zombies or splattered against the wall. But even now the specter of “elevated horror” (see that concept’s lambasting in Matt Bettinelli-Olpin and Tyler Gillett’s “Scream 5”) looms over discussions of artier explorations of dread and terror - Ari Aster’s “Midsommar,” Luca Guadagnino’s “Suspiria,” Rose Glass’ “Saint Maud” - that are clearly distinguished from, well, non-elevated horror. In this time of geekery and craft reigning supreme, film critics and academics no longer reject horror movies with the knee-jerk certainty some once did.
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