Elric Kane, the director of The Dead Thing, discusses 20 films that influenced his horror movie centered around a dating app.

      Having spent the last decade discussing and recommending films on my two podcasts (Fangoria's Colors of the Dark and the New Beverly Cinema's Pure Cinema Podcast), it shouldn't have come as a surprise that when I created my own movie, The Dead Thing (now available on Shudder!), many people would ask about the influences behind it.

      When you’re engaged in the production of an indie film, there’s no time for watching movies or thinking too deeply about such matters. Thus, I decided to reflect on the films that were running through my mind at different stages—from writing to post-production—and consider the specific ways they may have influenced me.

      I hope this list serves a dual purpose: for those who have seen the film and are curious about its influences, this is for you. Alternatively, if you're simply seeking a list of unique or under-discussed films, I hope it leads you to new discoveries.

      1. **Habit, directed by Larry Fessenden (1995)**

      A guiding star for the inception of our project. By prioritizing character and emotion over special effects and fright, Larry crafted one of the great gritty indie horror films and was a significant source of inspiration during our writing process.

      2. **Remember My Name, directed by Alan Rudolph (1978)**

      An overlooked gem from Robert Altman’s protégé, this film exudes an unsettling tension: Geraldine Chaplin follows Anthony Perkins, and the reason remains a mystery.

      The intensity of Chaplin's gaze in this film was so impactful that it was the only one I had my lead actress, Blu Hunt, watch before we filmed The Dead Thing.

      3. **Ugetsu, directed by Kenji Mizoguchi (1953)**

      A 16th-century Japanese civil war film might seem an odd influence, but the intense, obsessive love at its core has haunted me for years and was in my thoughts as we explored our own supernatural love story that burns with a consuming intensity.

      It’s comforting to realize that toxic relationships have existed long before dating apps.

      4. **Looking for Mr. Goodbar, directed by Richard Brooks (1977)**

      Controversial in its time and long unavailable (due to music rights) until this year, this dark exploration of the 1970s New York dating scene was an obvious reference for our film.

      I used images of Diane Keaton frequenting neon-lit bars for the look book of The Dead Thing, and the film's somber, doomed progression has stayed with me.

      5. **The Strange Vice of Ms. Wardh, directed by Sergio Martino (1971)**

      One of my favored Italian giallo films because of its twisted love story: a wealthy woman remains fixated on her violent ex-lover in beautifully shot sequences that almost distract from their horror.

      This blend of allure and aversion in the love scenes sparked inspiration for our erotic sequences.

      6. **Bad Timing: A Sensual Obsession, directed by Nicolas Roeg (1980)**

      Roeg has long been a favorite of mine, and his continual experimentation with film form has been a consistent source of inspiration.

      His dislocating and often jarring treatment of time perception in the editing of his films deeply influenced the fragmented way our lead character experiences time. We aimed to create ambiguity about whether the story unfolds over days or months.

      It’s also one of the most depraved and toxic love-gone-wrong films ever made.

      7. **Repulsion, directed by Roman Polanski (1965)**

      Few filmmakers have had as much impact on shot composition and camera placement as Polanski, particularly in his early works (especially the apartment trilogy of this, Rosemary’s Baby, and The Tenant).

      He discovered angles that evoke discomfort, reflecting the psychological state of Catherine Deneuve's character.

      8. **Red Road, directed by Andrea Arnold (2006)**

      An enthralling and emotionally intricate revenge tale in which a CCTV operator encounters a figure from her past, igniting a desperate need for closure, whatever the cost.

      The film’s opening and its methodical, rhythmic repetitions influenced how we structured our lead character's repetitive existence.

      9. **Morvern Callar, directed by Lynne Ramsay (2002)**

      Ramsay is the most exciting visual filmmaker still producing work. I revisited this film just before shooting to remind myself that there are no strict rules: extensive coverage is wonderful when possible, but bold, lyrical, and abstract choices can also be powerful.

      The scenes unfold like pieces of a puzzle, coming together to create a resonant experience by the end.

      10. **Retribution, directed by Kiyoshi Kurosawa (2006)**

      While the shadows of Cure and Pulse (especially their Internet themes) loom large over my film, it was a lesser-known Kurosawa work that I watched just before shooting