‘X' (2022) Review: Ti West's Ode to 70s Auteur Filmmaking and Slasher Smut
X is about the influence of auteur filmmaking in the shadow of the French New Wave. So, yes, while it is lightly engaged with the inner workings of the porn industry, it is also a film about trying to make something outside of the traditional Classical Ho
★★★★
R - Horror (105 minutes)
dir. Ti West
Starring: Mia Goth, Jenna Ortega, Brittany Snow, Kid Cudi, Martin Henderson, Owen Campbell
“In 1979, a group of young filmmakers set out to make an adult film in rural Texas, but when their reclusive, elderly hosts catch them in the act, the cast find themselves fighting for their lives.”
— Official Synopsis
Certainly, there are many comparisons to be made to Texas Chainsaw Massacre in Ti West’s latest film, X. For starters, rural Texas has never felt so familiar: from a blistering sun, to fields of empty space, and topped with a heavy small-town police presence. Then you consider that the primary antagonists here are eerily removed from the ideology of the newer generation. Where this leads to, very predictably, is a story of intergenerational conflict which we’ve seen countless horror tackle. But West doesn’t tread over the very same tracks one would expect; instead, X finds itself down a considerably narrow lane in exploring themes of loneliness and the immense grief of losing yourself to time.
Obscurity is the premise for much of the real horror throughout. Sure, there are a handful of typical slasher kills but the film stands firm in questioning the validity of its “otherness” by making the viewer uncomfortable. Wayne (Martin Henderson) wants to produce some of the highest quality adult films America has seen during the home video boom and his director of photography, RJ (Owen Campbell), has just the talent for transcending the typical porn aesthetic. The main stars of the current production—The Farmer’s Daughters—consist of Jackson (Kid Cudi), Bobby-Lynne (Brittany Snow), and Maxine (Mia Goth), who all desire to become big stars. If the plot alone wasn’t enough to make you uncomfortable in a crowded theatre, then what lies within will startle you.
Each character, while slightly archetypal, does have a human sensibility written into the narrative. They feel somewhat basic, yet endearing—not one did I wish to see get killed at any point. Part of their charm comes from West’s script, and the other part from the performances. Goth and Jenna Ortega, specifically, show so much dynamic range in their craft. But the subtleties in Henderson and Cudi’s presence was refreshing in all the right ways: not really giving the audience too much to chew on, materially, but providing a respectable amount of ethos. Ortega’s character has an arc that was expected, and the payoff was pleasantly surprising, but demanded more time. However, there are somehow already plans for a prequel/trilogy from Ti West, himself, with the prequel already having been shot during quarantine so we will see.
X is about the influence of auteur filmmaking in the shadow of the French New Wave. So, yes, while it is lightly engaged with the inner workings of the porn industry, it is also a film about trying to make something outside of the traditional Classical Hollywood Cinema (CHC) construct. Coincidently, the area just outside of CHC system is where both horror and smut exist. This metaphorical space also provides ample opportunity to make just about anything stand out from a filmmaking perspective. Eliot Rockett’s cinematography is the first thing that comes to mind by infusing a true 70s style into the framing and general fabric of the film; tactful optical zooms, nail-biting static frames, and voyeuristic tendencies alike. However, the most powerful tool at the film’s overall effectiveness lies with the editing. David Kashevaroff and West are razor sharp with their cuts—providing some of the most striking imagery I’ve seen this year. Seriously, some of this stuff is seared in my mind permanently.
People have also laughed when I’ve mentioned how utterly depressing X is and I’m being 110% serious, I assure you. It’s unironically one of the most powerful films I’ve seen about our worst fears of growing old, when it very easily could have leaned solely on some cheap gerontophobia. Keep in mind that West does use some body horror to disturb the viewer but he also uses this as a way to approach our perception on youthfulness and how little our desires change over time. Other horror projects have, indeed, conveyed a similar message but with a much more convoluted plot. Here, less is more. Needless to say, X is thus far the most surprising gem of any genre this year. You don’t have to be a horror fan to appreciate the craftsmanship on display from the cast and crew.
X is out now in theaters.