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FIVE FAVORITE FILMS




IMMACULATE DIRECTOR MICHAEL MOHAN'S FIVE FAVORITE HORROR FILMS


MOHAN SHOWS LOVE TO SOME NOTEWORTHY GENRE CLASSICS AND AT LEAST ONE RECENT HIT,
AND TALKS ABOUT HIS OWN FILM'S RAUCOUS SXSW PREMIERE.

by Jacqueline Coley | April 16, 2024 | 1 Comment

--------------------------------------------------------------------------------



TAGGED AS: Horror, interviews, movies

(Photo by Rick Kern/Getty Images for NEON)

Director Michael Mohan acknowledges that religious horror is a huge part of the
genre, with more than a few iconic entries. Adding his new film Immaculate to
the pantheon means it must remain faithful to the familiar parts audiences love
while still setting itself apart. This is likely why distributor Neon opted to
have dozens of silent “nuns” silently walk the streets of SXSW ahead of its
premiere, setting up an eerie preamble for the scary and raucous screening that
followed.

“Every filmmaker dreams of one day having a screening like that. [It] was an
absolute dream. The atmosphere was frightening; it almost felt like a rock
concert, with people screaming and laughing at the fact that they were screaming
and then cheering at the end,” Mohan told us.

Starring and produced by Euphoria star Sydney Sweeney, who basically willed the
film into existence after first auditioning for it in her teens, Immaculate has
been wowing critics and audiences since it first hit theaters in March. Sweeney
plays a young American novitiate on a new journey to a remote convent in the
Italian countryside. Shortly after her arrival, her dreams of salvation quickly
become a living nightmare when she uncovers a dark plot hidden just beneath the
idyllic setting.

Now available on VOD, Immaculate is a film that horror heads will feel right at
home with, elevated even further by the careful direction behind the camera, the
brilliant star wattage of its charismatic lead, and a leave-you-speechless
ending. Read on as director Michael Mohan breaks down his Five Favorite Horror
Films, which he shared with Rotten Tomatoes.

--------------------------------------------------------------------------------

Rosemary's Baby (1968)

96%

There’s something about Rosemary’s Baby that makes it a very intimate film. Mia
Farrow is in just about every single scene, yet the film is also very cinematic.



The Vanishing (1988)

96%

The 1988 film The Vanishing, otherwise known as Spoorloos, has an intense sense
of dread that permeates the entire movie and culminates in an ending that is
absolutely shocking and leaves you breathless.



What Have They Done to Solange? (1972)

71%

What Have They Done to Solange? It’s a film in which you really feel the hand of
the patriarchy. I even stole some of the blocking of that movie because of how
they stage scenes, with the male characters in the frame taking over — the
female characters in the frame are very small — not to mention trying to draw
from a legacy of Italian horror, which is a huge influence.



The Exorcist (1973)

78%

The Exorcist. What’s so remarkable about The Exorcist is that it still contains
some of the most disturbing imagery ever committed to film, yet the storytelling
is so elegant, the balance of things that are luring, coupled with beautiful
things is just sort of what I naturally gravitate towards.



Barbarian (2022)

93%

What I love about Barbarian is that it’s unafraid to use jump scares, and none
of them are overly clever. They’re very simple and effective, and they don’t get
in the way of the story. And so much tension builds when they’re underground in
those tunnels; there are parallels to our final sequence in the Catacombs. I saw
it four times in the theater. I kept bringing friends to go see it. It’s such a
communal experience watching that film and being on the edge of your seat
surrounded by a group of strangers. And to me, it’s the most fun, and it’s the
most surprising film I’ve seen in a theater in at least a decade.



--------------------------------------------------------------------------------

Jacqueline Coley for Rotten Tomatoes: Let’s talk about that SXSW Premiere,
because walking out on the street to see all those nuns was crazy — so trippy. 

Micheal Mohan: I mean, it was an absolute dream, 10 out of 10, and yeah, I’m so
grateful for that experience. And the nuns were just so cool. Neon really set
the tone. They brought in all of those red-billed nuns. Then we had our
composer, Will Bates, conducting a choir at the beginning, and so it just felt
very special. Yeah, it’s going to be one of… Getting married to my wife is my
favorite memory, and then the births of my two children come after that. And
then this is a very close fourth.

RT: Let’s discuss the score. It also sets the tone, especially in the third act
of the film. 

Mohan: I’ve worked with Will Bates on The Voyeurs, and so this is our second
collaboration. What I love about Will’s score is he also records if he’s playing
a church organ; he will also mic up the pedal so you can hear his foot hitting
the pedal. In some of the scenes, just the pump of a church organ functions like
a heartbeat, except it’s like a creaky heartbeat. He also played it like a piano
in a way you shouldn’t. You’re not supposed to play it like a prepared piano,
and he really f–ked up his fingers. He would scrape the piano strings with his
fingernail, and that’s what you’re hearing throughout the entire movie; you are
hearing the scrape of a piano string. I love working with him; he always brings
something unique to it.

RT: One of the things that sets this film apart is your leading lady, Sydney
Sweeney. What is it like working with her? 

Mohan: Yeah, well, she had it first. The project originated with the writer
Andrew Lobel, and she auditioned for it as a teenager; the project fell apart.
Then, after Euphoria season 2, her fans clamored for her to be in a horror
movie. She also has a deep love of horror, so she called up the writer and
resurrected the script. She’s the one who sent it to me. She was basically like,
“I want to cover myself in blood.” And so I was like, “Awesome! Let’s figure
this out.” And when I read the script, what really struck me was the reveal that
happens in the middle of the film. I did not see it coming, and as someone who
writes movies with twist endings, it takes a lot to impress me.

--------------------------------------------------------------------------------

Immaculate is currently in theaters and available to rent or purchase on VOD.



--------------------------------------------------------------------------------

Thumbnail images by: Getty Images

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