Evolution (2015) is an enigmatic, beautiful, subtly disturbing film from director Lucile Hadžihalilović, her first feature-length title since Innocence in 2004. It belongs in both the horror and science fiction categories, but it isn’t confined within those genres and I wouldn’t classify it under either of those. Visually striking without being ostentatious, it has a lot of impressive atmosphere. It is not at all lavish, but everything about its visual design is so memorable, from the stark, simple, whitewashed, cube-like buildings, to the slightly decayed, peeling green walls of the hospital. It is very minimalist, managing to feel austere and dreamy at the same time – everything about it is elegant, purposeful, and careful. It has a certain purity. I feel like there is nothing superfluous in it, not a single scene, gesture, or facial expression wasted.

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Scorn is a first-person sci-fi horror adventure game, set to be released in 2018. It seems incredibly atmospheric, beautiful, and intriguing; the environments are reminiscent of Giger but with a warmer palette, very alien and intricate yet dreamlike and enchanting at the same time. The weapons and devices appear curiously biological in nature, like the technology of the Engineers in the Prometheus universe. The aesthetic is minutely visceral, but also gives the impression of being enveloped in an aura or mist, a lovely ethereal haze. Scorn is to be released in two parts, with no sequels or expansions, and is currently in development by Ebb Software. According to Ebb, there will be no conventional plot, the narrative is nonlinear, the gameplay open-ended, and “The story and themes we are trying to convey get their desired effect through experience rather than exposition.” The visually stunning, nightmarish world is also inspired by the works of Zdzisław Beksiński, one of my first favorite surrealist artists. There is currently a Kickstarter campaign for Part 1.


The Wonderland Book

Kirsty Mitchell’s Wonderland Book is an enormous volume containing over 600 photographs, featuring the seventy-four pieces in her Wonderland series. It is a labor of love created in memory of her mother, who died from cancer in 2008, and took over five years to complete. These otherworldly images, lush, extravagant, super saturated with color, feature Mitchell’s lavish, wildly imaginative costumes and embody a fantastical, whimsical, and unrestrainedly vibrant fairytale aesthetic, inspired by the storybooks her mother read to her as a child and by her personal journey of grief and transfiguration.