Brian De Palma, a name synonymous with stylish suspense, is stepping back into the director’s chair. This isn’t just a filmmaker picking up a camera again; it’s a potential signal to the industry that practical, auteur-driven thrillers still have a place in a market increasingly dominated by IP. “Sweet Vengeance,” inspired by two true murder stories and shooting in Portugal this summer, marks his first feature since 2019’s “Domino.” The choice of Portugal as a location is interesting – a potential cost-saving measure, but also a nod to the European art-house aesthetic De Palma often flirts with.
- Karyn Kusama, known for her gritty realism, is returning to thrillers with “Stan,” starring Daisy Edgar-Jones and Drew Starkey.
- A24 is backing “Peaked,” a comedy from Molly Gordon, signaling continued confidence in emerging female directorial talent.
- Netflix is doubling down on the romance adaptation game with two Emily Henry novels, aiming for the “Beach Read” demographic.
Speaking of comebacks, Karyn Kusama’s “Stan” – a thriller about a singer and an obsessed fan – feels particularly timely. The film, starring Daisy Edgar-Jones (fresh off “Twisters”) and Drew Starkey, taps into the current cultural anxieties surrounding parasocial relationships and the intense scrutiny of celebrity. The script, penned by Jordan Rosenbloom, will be shot in Toronto this June.
A24 continues to solidify its position as the indie darling, picking up “Peaked,” a comedy directed and co-written by Molly Gordon. The premise – a reunion where two former high school “queens” attempt to recapture past glory – is classic A24 fare: sharply observed, character-driven, and likely to generate significant buzz on social media. Emma Mackey’s involvement is a smart move; she’s cultivated a strong, independent image that aligns perfectly with A24’s brand. This project feels less about box office and more about cementing Gordon as a voice to watch.
Meanwhile, Netflix is predictably leaning into the book-to-screen adaptation pipeline. Two Emily Henry novels, “Happy Place” and “Funny Story,” are slated for film adaptations. This is a calculated move. Henry’s novels have a devoted following in the romance space, and Netflix is clearly hoping to capture that audience. The plots themselves – messy relationships and second chances – are tailor-made for the streaming platform’s algorithm. It’s a low-risk, high-reward strategy, though the success will hinge on finding the right tone and casting to avoid the pitfalls of generic rom-coms.
The sheer volume of projects announced suggests a healthy, if somewhat fragmented, market. The question remains whether these films will break through the noise and resonate with audiences beyond their target demographics. De Palma’s return, in particular, feels like a test case for whether sophisticated, character-driven filmmaking can still thrive in the age of blockbusters.
Discover more from Archyworldys
Subscribe to get the latest posts sent to your email.
