A Twisted Tackle Weapons’ Progressive Storytelling

The brand new trailer for Osgood Perkins’ newest horror film Keeper cleverly tailored one of many cleverest concepts from the latest horror blockbuster that took the field workplace by storm. The mysterious upcoming psychological horror stars Tatiana Maslany (The Monkey) and Rossif Sutherland (Orphan: First Kill) as a pair that discovers the sinister historical past behind their secluded getaway cabin on an anniversary journey.

Keeper has adopted within the footsteps of Osgood Perkins 2024 shock horror hit Longlegs in revealing little or no in regards to the film’s plot by way of teaser and trailer releases. A burgeoning pattern in horror is to keep up narrative secrecy till audiences are within the theater, as was additionally the case with Zach Cregger’s newest horror smash hit, Weapons.

Nonetheless, the most recent trailer for Keeper borrows a special tactic from Weapons that maintains the thriller. The truth is, it’d truly create extra questions than it solutions, and definitely will increase the intrigue sparked by the film’s eerie first teaser. Regardless of solely being two minutes lengthy, the latest Keeper trailer makes use of a storytelling system straight out of Weapons to nice impact.

Keeper’s Trailer Places A Twist On Weapons’ Identical Occasions, Completely different Views Tactic

A defining attribute of the field workplace juggernaut Weapons was its fractured narrative: an analogous timeframe and sure occasions within the small city of Maybrook have been retold from the attitude of six totally different characters. Naturally, there are some inconsistencies between the views, as characters understand minor components of occasions otherwise.

The Keeper trailer adopts the idea of telling the identical story from differing views, however takes it a step additional. Within the trailer, we see what’s introduced as an analogous timeframe and comparable unraveling of horrors from the attitude of Maslany’s character, Liz, full along with her interior monologue. Then, we’re introduced with Malcolm’s (Sutherland) interior monologue, which is similar in script however backed with fully totally different visible horrors.

What this does proper from the start is set up that Keeper follows two fully unreliable narrators. We do not know whose model of the story that unfolds solely by way of staggered photographs is the “right” model, and the heavy implication is that neither of them are. In Weapons, we see peculiar, albeit sensible, occurrences from totally different views, whereas the Keeper trailer implies that neither perspective relies in actuality.

It is too early to say for sure whether or not the shifting perspective system will happen throughout the film itself, as was the case with Weapons, or if it is only a mechanism for the trailer. Even when Keeper would not make the most of the variable storytelling techniques all through the film, its use within the first full trailer is the proper approach to construct intrigue and thriller for what appears like a haunting psychological horror story.