David Robert Mitchell has never seemed particularly interested in giving audiences exactly the movie they think they’re getting. It Follows turned a seemingly simple supernatural curse into an unnerving meditation on intimacy and mortality, while Under the Silver Lake gleefully disappeared down its own paranoid rabbit holes. So perhaps it makes perfect sense that Mitchell’s…
There’s something inherently unsettling about the suburbs in the films of David Robert Mitchell. Familiar streets, quiet houses and seemingly ordinary neighbourhoods have a way of suggesting that something strange might be lurking just beyond the frame. With The End of Oak Street, the filmmaker behind It Follows and Under the Silver Lake takes that…
