‘Everything I know about evil I learned in that small town’: John Carpenter on terrifying the world with Halloween, The Thing and The Fog

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At 78, the king of horror and sci-fi movies is as much of a rebel as ever. He talks about creativity, compromise (he’s not a fan) and how he became addicted to moviemaking In 2024, John Carpenter had a dream that sounds like one of his movies: it involved a portal to the underworld beneath a disused church, monstrous demons and people being turned inside out. “I woke up and thought: wow! What an elaborate story,” he says. “I rarely have cinematic dreams, but this was one of them.” He liked it so much that he has turned it into a graphic novel, Cathedral, with an accompanying soundtrack. “It seemed to fit this heavy metal groove that we were starting on, and it worked out pretty well.” Most people would consider this a nightmare rather than a dream, I suggest. “No. Nightmares, for me, are personal – something that happened to me,” he replies. “Usually my nightmares are, I’m directing a movie and no one will listen to me. No one will follow my directions. Seriously, that’s what I wake up...
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Kill the Jockey review – a mercurial, skittish crime drama whose hero is a drug-fuelled rogue

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Venice film festival
Luis Ortega’s film veers off the racetrack as jockey Remo drifts around the city streets, pursued by a pregnant girlfriend who wants him back and a gangster who wants him dead

People ride horses for all sorts of reasons, explains the jockey hero of Luis Ortega’s offbeat and stylish Argentinian crime drama. They ride to arrive at their destination more quickly, or to wage war more effectively. Mostly, he says, they ride to escape. This jockey is familiar with the nagging urge to take flight. He is a study in motion, a figure in flux. Show him a fence and he will promptly jump it – or die trying.

There is much to relish in Kill the Jockey, not least Nahuel Pérez Biscayart’s wonderfully stone-faced performance as Remo Manfredini, the rider who absolutely, positively has to win his next race in order to keep a gangster off his back. Biscayart plays Remo as though he is the soulful clown in a silent movie, Buster Keaton with a riding crop. He gives the impression of being the bemused lightning rod for events, as opposed to what he really is: an unruly, drug-fuelled rogue agent who is a danger to himself and pretty much everyone else around. “We know all about your unquenchable thirst for disaster,” says leathery Sirena (Daniel Giménez Cacho), the mob boss, in the brief moment of calm between the scene in which Remo performs a slapstick somersault at the starting gate and the moment when he gallops full-tilt at the race-track’s barricades.

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