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After her 2021 horror film Candyman, Nia DaCosta marked herself as one of the most exciting up-and-coming directors in the business, collaborating with none other than Jordan Peele, the modern master of the genre, to realise her revisionist take on the Candyman mythos.
Following its release, DaCosta won the coveted Nora Ephron Prize for Female Filmmakers at the Tribeca Film Festival, later becoming the first Black woman to direct a film in the Marvel Universe. Since then, her career has only gone from strength to strength, joining Danny Boyle by directing a sequel to 28 Days Later, as well as currently adapting Hedda Gabler for the screen.
However, Dacosta undoubtedly holds a firm spot within the world of horror, with the director showcasing an encyclopaedic knowledge of the genre and citing one story that she would love to see more of, even if she has to do it herself.
There are plenty of tired clichés and stereotypes littering the horror genre, with fear-mongering often used in predictable ways to lure audiences into familiar traps and set up the perfect scare. Whether it’s the classic trick of someone appearing behind a character in the mirror, a chase scene where someone trips and gets stuck, or the old faithful of a girl being conveniently attacked while in the shower, wrapped in nothing but a towel, there’s no shortage of overused tropes. It’s this feast of familiar beats that director Drew Goddard cleverly reworked in his 2011 film The Cabin in the Woods.
The film follows a group of teens who journey to a remote cabin in the woods, unaware that technicians are controlling their fate as part of a worldwide conspiracy where all movie cliches are part of an elaborate sacrifice ritual.
There is nothing more refreshing than a horror movie that not only acknowledges these stereotypes but uses them in a new way to inflict fear on the audience, doing something entirely different by tying all these cliches under one umbrella and adding the lens of surveillance to the story.
This is something that Dacosta deeply admired and expressed interest in exploring further, and when asked about a film she would like to direct a sequel to she immediately said, “The Cabin in the Woods by Drew Goddard. At the end of the movie the gods from below come up and I would love to see what happened next”.
The film ends in an unexpected way as the ground beneath them seemingly cracks open and reveals a mysterious and ominous new force, opening into a meta story that smartly eviscerates the conventions if the genre it resides in. It is both a satire, a parody and a commentary, becoming a horror about horror itself that slowly creeps up on you. Through her masterful work on Candyman and assured command over the genre, there is no doubt that Dacosta would make the perfect person to expand on this story if Goddard ever picked up the phone.
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