The cursed aesthetic of true crime has long been co-opted by horror movies, and it's evolving alongside an ever-savvier audience.
In 2019, while on a trip to Los Angeles, I decided to visit the Museum of Death. I have a complicated relationship with true crime. It’s a morbid and problematic fixation, sure. But there’s a reason why it’s also a pervasive one. We all die, and most of us are terrified of the prospect. Some people run away from their fears. Others run towards them.
Still, some seek them out. Online subcultures devoted to 911 calls, body cam footage, and the infamous gore boards of the unregulated early internet are niche. But the repackaging of death as entertainment has a long history in exploitation filmmaking. First came the “Mondo” movies of the ’60s and ’70s—one notable entry in this subgenre,series, which traumatized a generation of kids whose parents didn’t pay attention to what they rented at the video store.
These are used to set the tone, as Special Agent Lee Harker familiarizes herself with a series of crimes where fathers have killed their entire families—a gruesome phenomenon, but not an unknown one. The weird part is that each of the crime scenes had a letter left behind, written in code and signed by someone calling themselves “Longlegs.” The audio is muffled, and the photos have the soft blur of automatic film.
Chevalier has—for lack of a better term—groupies, besotted young women who attend his trial every day to support his innocence. Kelly-Anne appears to be one of them, although her true motivation is more obscure. Regardless, she strikes up a friendship with Chevalier fan Clementine , who comes to Kelly-Anne’s place after Kelly-Anne finds out that she has nowhere else to stay. There, they view one of the Chevalier snuff films that Kelly-Anne has saved on her hard drive.
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