Why Are Horror Film Opinions So Divisive?

By: Myriam Akbar

        From the very beginning of 2025, I noticed that audience opinions on horror releases were incredibly divisive. From Presence, to Wolf Man, to The Woman in the Yard. I decided to examine this and write a piece from my perspective (already on my site); however now, I would like to communicate how some horror and film content creators feel. My conclusion was that the divisiveness stems from expectation, desire for films to be “scary,” lack of recognition that the genre has an evolutionary process, and nonacceptance of multi-genre projects. I used my findings to ask a few questions surrounding these topics.

1) Do you feel that the opinions on recent horror films have been divisive, why or why not? 

2) Do you believe horror films inherently need to be “scary?” 

3) How do you feel about multi-genre horror films?

Horror films are being released in abundance due to the rise of streaming services and binge watching, some of being an effect of the COVID-19 pandemic. While the genre has always had its lifelong and hardcore fans, it has accumulated a ton more over the past few years. In this bubble of content creation, our experience of watching films might be different from those engaging without the intent of sharing one’s opinion. Although we still seek entertainment, we are simultaneously analyzing and notetaking somewhere in our minds. However, social media offers the opportunity for anyone to share their thoughts–making public opinion a part of cinema related discourse and a determining factor of a film’s greatness. This brings about competition regarding timeliness of reviews, popularity bias or bandwagoning, as well as for some–the motivation to join the bashing of a film etc. 

Jesse Whitaker acknowledges the role social media has in creating buzz for a film when it’s released, arguing that it significantly impacts a film’s reception. “A content creator can influence the way people view a film just based on their reviews. People tend to follow trends and form their thoughts based on those of the creators they like,” he says. ABadWitch also takes social media influence into account when considering influence on film discourse, given that some creators are paid to promote content. “Even if they don’t like it, they’ll say something nice because they were invited to a screening or premiere. On the other hand, if enough popular pages review-bomb a film, it gets less traction after that. It ruins the momentum of the entire project, which is unfortunate,” she says. 

Stefan Shroud suggests that the polarizing nature of horror film discussions is due to the genre being taken a lot more seriously than it was 15-20 years ago. “I think expectations are higher and that’s why the division is there. People are expecting more from the genre now.” However, Final Girls Anonymous argues that our passion for the genre is what creates the variance in opinions. “We tend to attach ourselves to films and themes that spark something within our own identity–so when met with a contrary opinion, it can feel like a personal attack,” she says. Blue70mm also brings up contrarianism, saying that “opinions on horror releases are so divisive because people are quick to judge and it has created a culture that prioritizes being critical over being thoughtful.” Clementine Verault is disappointed by this online culture that makes it difficult to share one's opinion, because doing so can result in getting attacked in the comment section. “The beauty of art is that it’s open to interpretation, but the lack of media literacy is kind of killing that. We all walk away from films with different perspectives and feelings based on our personal experiences and backgrounds—that’s the whole point.” Our different backgrounds, feelings, and perspectives shape our taste, which Taste of Cinema spoke on when I asked him why he thinks horror film opinions are so divisive. “I think this is because the genre has become more experimental lately. Filmmakers are mixing genres, pushing psychological angles, and taking big stylistic risks. That means that some movies really click with certain audiences, while completely missing for others. So it’s less about quality and more about taste.” 

Evangile proposes that theme is a driving force for division, “The themes behind many horror films released this year are divisive because they don’t exist in a vacuum. These films speak about realistic issues in society–ones that many people are afraid to confront. Some viewers only expect cheap scares and are not watching to resonate with a deeper meaning.” Janecka Olen-Deer of Scream Queen Podcast shares a similar perspective, making the claim that opinions have been polarizing recently due to more diverse voices in the genre. “There’s more women directors and more representation of minorities in modern horror. A lot of the people reviewing these films are not representative of the culture and issues being reflected upon,” she says. 

Tyrone of EvolFMPodcast addresses the role trailers have in shaping the expectations of horror films, sometimes confusing the audience and creating division in opinion. He says, “They either show too much of the shocking parts or arrange them in a way that is not representative of the actual film.” Similarly, Chunky Larry of Creator Features Podcast believes that trailers can harm the cinematic experience when there’s a lack of artistic integrity and marketing departments don’t have the audience’s best interests in mind. “Part consuming the story is the journey and the markers of the journey are revelations. If the revelations are given away or manipulated, the product will never be able to live up to the expectations,” he argues. ViktorTheeWriter also takes into account how trailers have an impact on the scare factor. “They create the overall feel and look of the film; for example, the voiceover, music, and lighting make a difference in how frightening the film might be to the audience.” 

 ReelDumb opened my eyes to a very good point regarding the divisiveness within horror film discourse. “Why is this happening? Because nothing is allowed to just be fine. Nothing can be mid. Everything has to be the best or scariest movie ever.” I see this often online–discussions where people label a film “trash” if it isn’t five stars or doesn’t satisfy their expectations. I personally don’t believe in a perfect film; however, some are given that title because they're just so damn good. Because art is subjective, how we measure the greatness of a film is different for each person and some are allowed to just be okay or simply entertaining. I truly believe you get the most from art when you have an objective eye and go into a film with the intention of understanding its purpose, letting its unique story shine for what it is. When you have such narrow and rigid qualifications for a film, you miss out on a lot of what is being showcased and I think that is happening far too often with this genre.

The word horror is defined as an intense feeling of fear, shock, or disgust—stemming from the Latin root that means shiver or tremble. A horror film essentially evokes these feelings in the audience through storytelling and visuals. An effective script involves a concept that embodies one or all of these emotions. Or on the other hand, creates a convincing story that focuses on how the characters are experiencing them. This is why I don’t believe for horror to be successful, it needs to be “scary.” I’ve had experiences where a film made me close my closet, turn the lights on, lose sleep, or have nightmares. However, there’s also been times where the impact comes from me imagining myself in the scenario of the film or empathizing with the characters. I don’t think there’s a right answer to the question of whether horror inherently needs to be scary or not; however, when it comes to labeling a film–its definition and intention of exploring anxieties should always be considered. 

JLovesCinema argues, “Horror films aren’t scary enough! I want to sleep with all the lights on in my damn crib after I’m done watching. We need to go back to the good days where there’s campy storylines and practical effects.” Similarly, Aaron Loves Horror finds himself disappointed when a film isn’t at least creepy. “Technically, I don’t believe horror films need to be scary, as the subject matter and feelings it provokes can be horrific. But I prefer them to be,” he says.  Simon James Parker also finds horror films to be more effective when they’re scary. “Good tension and jumpscares are what get the adrenaline pumping. I think if you actually feel scared when the movie is over, then it's done its job,” he says. However, RyTheHorrorGuy says, “I like a good jumpscare but I think they’re getting overplayed in a lot of modern horror films.” Ethan Keter thinks that getting into someone’s head is a method of creating fear that is more terrifying. He says, “I think horror is most effective when it’s psychological. I like when the film makes you think.” JewelTalks agrees with Keter, she says, “I’ll use the film Grave Encounters–it has jumpscares but to me the most terrifying part is that the characters can’t leave the hospital. They walk the hallways but never find an exit.” 

TheFilmchologist doesn’t need tropes, deaths, and jumpscares for horror to be effective. He says, “I actually prefer when a film manages to explore the genre as it shows up in daily occurrences and experiences.” Meagan of TeaAndPopcornPod shares that it’s a pet peeve of hers when people say that a horror film is bad or doesn’t belong in the genre because it’s not scary. “Scare shouldn’t be a determining factor of whether a horror film is good or not. I think the genre acts as a tool to discuss scary topics and anxieties of real life horror,” she says. Intention is a significant element of ScarePair’s view on horror as a genre. He says, “Some things might not be scary to you, but if the film is trying to be scary, disturb you, or creep you out–I’d say it's horror.” On the subject of determining factors, Chelsea Murphy says, “Horror doesn’t have to be overtly scary. I think that’s the problem nowadays and why so many films go unappreciated.” Damon Martin of Rewind of the Living Dead Podcast acknowledges the significance of scare as a component of the horror genre; however, argues that nothing is more important than the overall quality of the film. He says, “I like being scared by horror, but I’m a film fan first and foremost. If the film isn’t good, no amount of scares can save it.” 

When asked about whether horror films need to be scary, Mean Joe Grizzly shares a similar perspective to mine. He says, “It’s about putting yourself in the character’s shoes, actually engaging with the concept of the film, and somewhat living it from your seat. I have a very, very vivid imagination. That has definitely assisted me in enjoying my movie going experience.” Speaking on the movie going experience, The Reel For Real Podcast says, “I think people are going in with a narrow definition of what horror is supposed to be. Horror is bigger than fear responses, sometimes it’s about uneasiness or discomfort.” 

I think Fright Fare beautifully captures how the subjectivity of what scares us in a horror film can be examined when reflecting upon reality. “Truthfully, the world we’re living in right is terrifying day in and day out. Horror is a genre that reaffirms the importance of resilience, of refusing to give into fear, paranoia or grief, of finding your people and toppling evil - or alone when there’s no other choice.”

Like anything with a timeline of existence, we can say that the earliest forms have influenced the later ones. Trick films, German expressionism, gothic, and supernatural are discussed as some of the starting point sub-genres of horror. As of now, the genre recognizes a wide variety of categories: creature features, psychological, sci-fi, religious, folk, and slashers etc. Many of the films we know and love combine sub-genres, making them difficult to put in a box with a label. However, they make for unique projects that explore unexpected settings and anxieties. Horror comedies; for example, play with tone in a way that makes light of things that go bump in the night. I enjoy films that lean into one particular sub-genre, as well as those that mix them like one of my all-time favorites–A Nightmare on Elm Street.

Mikey P. Jr. also expresses enjoyment of both sides of the spectrum, when asked how he feels about multi-genre horror. “I love when a film steps out of its comfort zone and when filmmakers think outside the box. However, I also love when they stick to their tropes,” he says. Domochoa believes horror should keep expanding and finding new ways to make people uncomfortable. He says, “I don’t think horror has to follow rules, because tradition always changes and evolves–the genre will be no different. I’ve noticed more films that are emotionally tense with a slower pace.” However, Terrorble Reviews doesn’t even think there is a tradition necessarily. “Horror is an abstract concept. I think if you try to put it into one box, you really lose the essence of it all,” he says. TheFilmDoc believes the genre is extremely cyclical and that with Blumhouse being a dominating force, it reminds him of the late 90s and early 2000s. He says, “It was more conservative and people-pleasing. Movies in the 80s were more gratuitous with blood and nudity. In the early 2000s, if you wanted something more challenging or cerebral, you’d watch French cinema. I feel like with Blumhouse, even when we get an R-rated film–it’s still generally inoffensive and lacking any risk.” On the other hand, Audrie Nightmare views modern horror as feral, with elevated themes of grief and genre-bending chaos. “It’s smarter, meaner, and way more emotionally invasive,” she says. Grimm of Horror suggests its tradition that gives horror its power, while innovation and creativity give the genre new direction. “Some themes and concepts in modern horror correlate to changes in the human experience; for example, the use of social media, creation of digital surveillance, social and financial pressure, as well as ecological dangers,” he says. Chris Short of Short Scares loves genre mash ups and is glad that many modern horror films have gone in that direction. “It makes them less predictable and allows for more unique films,” he says. Troy D. Riyan also considers himself an advocate for artistic exploration. “I think it’s cool when filmmakers find horror in places no one would think of,” he says. 

Regardless of any dissension that existed within horror film discourse, I think 2025 was a great year for horror. Filmmakers tackled unique concepts and serious themes of inner turmoil. They took risks by focusing on the perspectives of non-typical characters (Presence and Good Boy), combined genres (Marshmallow and Companion), emphasized the power of metaphors (Sinners and Weapons), and shocked audiences with gory visuals (Bring Her Back and Traumatika) etc. As someone who has loved horror since a child, I am excited about the evolution of the genre and think this year will bring more innovation. I hope that the way we speak about film will also evolve, allowing more people to treat horror as expansive and capable as other genres.

Images Used from IMDB.com to create the collage, as well as the poster.

Interview with Jake Myers, Director of 2025’s Kombucha

By: Myriam Akbar

Jake Myers is a filmmaker, animator, and creative director based in Chicago. He’s known for his short films Kombucha!, Emojihead, and Alien Seduction. After its festival run, an expansion of one of his short films was released on streaming services. The plot of this body horror film involves a physically and psychologically transformative beverage, provided by a company for its employees. Kombucha’s world premiere was at DWFLA, where it won the Audience Choice Award. It also won awards at Grimmfest, Vortex, ATL Horror, Samaine, and Chicago Underground. Recently I had the pleasure of interviewing Myers about his passion for cinema, how this film came to be, and his personal experiences that influenced it. 

Like many of us cinema lovers, our passion for film stems from childhood. Myers shared that his parents were teachers, athletes, and musicians—so they encouraged him to have eclectic interests. “I played volleyball, sang in an acapella group, and watched as many films at home or at the theater as possible,” he says. He also recalls that in middle school, he was obsessed with Nickelodeon’s Are You Afraid of the Dark? He and his friend, Joe Sepka also used to go to the video store and rent the weirdest horror films that they could find. “We would make our own bizarre films with my parent’s camcorder and try to get our friends to laugh or cringe. We never stopped collaborating on things. He actually did half of the score for Kombucha,” Myers says. He has an eclectic taste in terms of genre and enjoys films that blend different ones, making them hard to define but fun to watch. He lists elevated horror, sci-fi action, and lo-fi camp as some of his favorites. 

Screenplay writer Geoff Bakken, was “the original brain behind the concept, says Myers. “I think it grew out of his experiences in a corporate office. I was drawn to the hook of the film, because of the relatability factor regarding the fear of both starting a new job and being replaced in it.” For Myers, his creative process for the first act included drinking lots of kombucha and observing its characteristics. For further inspiration, he used Reddit stories involving the beverage—finding claims of GI issues, skin rashes, and nosebleeds. “I wanted it to feel somewhat grounded in scientific reality and anecdotal experience,” he says. 

Often great filmmakers will tell you that the best stories are ones that we pull from out of ourselves. This is no different for Myers, who explains that his own personal experience with taking ADHD medication helped him make this film. Despite enabling him to get through the work day and accomplish tasks, it had some side effects on his stomach. “I also felt like a shell of the creative person I was before,” he says. “Both Luke (the main character) and I grapple with the slimy version of ourselves that wants to abandon our creative passions, in exchange for financial stability. I think a lot of creative people relate to this existential dilemma,” he says. Myers wanted Mother (the source of infection in the film) to be the physical embodiment of the money machine. In the same way a SCOBY (symbiotic culture of bacteria and yeast) eats sweet tea and ferments it into vinegary kombucha, he wanted Mother to transform creative people into corporate cogs. “I hope Kombucha serves as a reminder that no job is worth dying for and we are more than the value that we create for uncaring corporations,” he says. 

When asked what advice Myers would offer aspiring filmmakers like myself, he says, “Do more in pre-production than you think you need to. If you’re working with finite resources, you don’t have time to troubleshoot major problems on set–so organize everything you think you need to before production starts. Prep yourself for the long haul of thankless work that goes into editing, sound, vfx, and color.” He suggests making visual slideshows for, communicating expectations to, and working collaboratively with every head of department. This ensures that everyone has a shared vision the moment they walk on set. My favorite piece of advice that Myers provides is one that I don’t hear enough and think should be prioritized. He emphasizes the significance of thanking those who go out of their way to improve your film, acknowledging the hard work that goes into turning raw material into cohesive content, and taking initiative to support however you can. 

What’s next for Myers? Initially planning to do a slasher film, he was pushed towards the idea of a Kombucha sequel when his producer said he had a gut feeling it needed to be done. He and Bakken had already tossed around ideas, landing on a concept that gives them the opportunity to invest in the body horror elements and character-driven drama. “Instead of expanding the world like most sequels do, we want to focus on the world and see what happens when a culty holistic treatment center discovers the power of Mother’s Secret Kombucha,” he says. As someone who very much enjoyed Kombucha, I think this idea is brilliant and exciting. I have a good feeling it will not only be executed well, but impress horror fans. 

Creator Highlight: Tyrone Williams of Evol Podcast

By: Myriam Akbar

Meet Tyrone Williams, director and host of the podcast Evol FM. He’s a Sacramento, California native but  currently lives in Philly. He says his passion for creating content began in the middle of the pandemic,  when he was trying to “stay sane as an essential worker.” Two years later in 2024, he started his podcast and has had the opportunity to speak with many people in the field. Evol FM mostly covers fans of the horror genre and other black creatives. His goal is to give people their flowers and have fun, while building community. “The best thing about creating content is sharing my ideas with my peers and the most challenging part is finding the time to schedule everything in a balanced manner,” he says. 

Williams discovered his love for film after watching Austin Powers - The Spy Who Shagged Me and the behind the scenes footage, also becoming inspired by filmmaking as a career. As for horror, he highlights Child’s Play 2 as a groundbreaking discovery during childhood. His other favorite genre is, ironically, romantic comedies. He lists Night Of The Demons, The Wedding Singer, and High Tension as some of his favorite films. 

Some high points of success for Williams are getting paid for a few collaborations with Dread Central and speaking at Blerdcon two years in a row. “I have so much fun being on stage,” he says. At the convention, he did a segment called “Black Ass Decisions.” It consisted of having the crowd give comedic choices centered around how surviving a horror film would look like from a Black perspective. 

When asked what his short term goals are, Williams said, “I would love to start hosting events like screenings, horror themed game Nights, and film festivals. I just love being around folks who have seen every Evil Dead film and it's just a normal conversation.” As for long term goals, he wants to make as many connections in the industry as possible and continue to uplift voices that need to be heard. However, one of his most significant dreams is to bring his nightmares to the big screen. “Nothing would make me happier probably. I would love to make possession-horror and romantic-comedy films. They both get to tug at the audience's emotions,” he says. 

Creator Highlight: Janecka Deer-Olen of Scream Queen Podcast

By: Myriam Akbar

Janecka Deer-Olen is a determined and fiery Florida-based content creator, who explores themes of horror both real and imagined. She has a daughter who is the drummer in a local band that is gaining popularity and a husband who owns a small music venue in Orlando. Deer-Olen has been making social media content for 7 months; however, she’s had her podcast for a year. Additionally, she hosts horror trivia events at her husband’s venue. She says the best part of creating content is the community that she gets to form; however, she explains that there are some hardships that come along with it. “I'm still fighting for recognition in a space that is saturated and where my values and the topics I cover are being shadow banned. It makes it hard but I won't stop,” she says. 

Deer-Olen’s passion for visual arts began as a child, having grandparents who shared the same interest. Her grandmother Harriet Deer, was a Professor of English at the University of South Florida. She was known for her work in Popular Culture studies and film, giving lectures on classic films at the Tampa Theatre and USF into her 90's. She and her husband also co-authored four books on The Popular Arts. Deer-Olen says, “I got my passion for film from my grandmother, as we were very close. I just took it in a different direction with horror.” Her favorite categories within the genre are body, psychological, creature features, thrillers, revenge, and slashers. The television shows that introduced her to the genre were Buffy the Vampire Slayer, Charmed, Tales from the Crypt, and Goosebumps. As for films, she lists Evil Dead 2, Chucky, The Nightmare on Elm Street, Dolls by Suart Gordon, and The Witches. 

Deer-Olen started her podcast a year ago, highlighting the true horrors that inspired the horrors on screen. She has a segment called Indie Horror Highlights and also interviews Indie Horror directors. “I say at the end of each episode: This is a one woman show and I'm doing my very best. Everything is done by me,” she says. Within a year, she has completed 50 episodes and gained quite an Instagram following, with over 11K followers. “It takes a lot of time and patience, but it's worth it to me because I get to create a safe place for people who are being targeted. I get to give a different perspective, which I’m proud of. The horror space is overrun by men and it's rare to see an independent woman podcaster that doesn't have a man helping at all,” she says. 

When asked if she was interested in filmmaking, Deer-Olen said, “Everything I create, read, and write is intended to help me formulate my craft. This knowledge is essential to completing my screenplay and making my first horror short.” She is working on a claymation short about a recurring nightmare she had as a child. Her short-term goals are to gain a big enough following that she is taken seriously as a writer and possible director down the line. Her long-term goal is to make horror movies about issues that are important to her, ones that she feel haven’t been tackled yet with enough significance. “I am going to piss people off and make people uncomfortable with my art. I don't mean to play it safe or appease the masses,” she says.

Creator Highlight: Anaya Davis

By: Myriam Akbar

Meet Anaya Davis—a passionate and charismatic social media content creator, based in Los Angeles. She started making videos on TikTok about television and film in March 2023, becoming known for her character analysis and rankings. Mostly covering horror and drama, Davis has gained a solid following and exciting opportunities. This summer she spoke on the Housewives of Horror panel, at GhoulieCon in Kentucky. 

    “It was exciting to be alongside like-minded people, discussing horror and how important women are to the genre,” she says. “It was scary at first but so much fun. I felt at home once the nerves wore off and hope to do more similar events,” says Davis. 

    When asked to reflect on where her television and film journey began, Davis remembers loving it since she could comprehend it. “I fell in love with being fully immersed in the world that was being built in front of me and it also contributed to my own creativity,” she shares.    As for the horror genre, she became a fan young as well and recalls feeling at home in the chaos of it all. “One of my earliest memories was watching Candyman. I was mesmerized by Tony Todd’s performance. He was so locked in and I was in awe of how just his voice alone could invoke fear,” she says. Some of Davis’ favorite films are slashers like A Nightmare on Elm Street and Scream, as well as I Saw the TV Glow, Age of Adeline, and The Lion King. As for television shows, she highlights Pretty Little Liars, The Walking Dead, Vampire Diaries, and The 100. “I like long shows where I can get invested. I’m such a binge watcher,” she says. 

    Davis’ favorite aspect about making content is being able to “yap,” she says. She considers the harder parts to be the dry spells and getting caught up in her videos not performing well. When asked what her goals were in regard to TikTok, she said, “I would like to get out of my little niche box and bring more of my creativity into my content.” 

    In addition to her love for television and film, Davis is a lover of reading and writing. Recently she completed a slasher novel titled, The Glass Knife and is preparing to send it off to literary agents. “Slasher is a scary little subgenre to jump into because there’s so much planning that takes place when writing a who-dun-it,” she shares. Her previous projects have leaned more into fantasy and while there were hints of horror, this was her first time diving fully into the genre. “My writing style is similar in this one, but the characters and themes are very different,” she says. As someone who overall cherishes storytelling, Davis considers screenwriting somewhere down the line.

Interview with Filmmaker Matthew Villegas

By: Myriam Akbar

Meet 29 years old Matthew Villegas, a filmmaker and content creator based in Orlando, Florida. He studied film at the University of Central Florida and eventually moved to New York to pursue his career. Originally he wanted to work in post production as a colorist, but his path led him to working in a G&E rental house. During the SAG and WGA strikes, he moved back to Orlando because, “Work dried up and I just wanted to get to a better place mentally,” he says. 

Villegas has a long-standing love for cinema and describes himself in high school as a theater kid. “Aside from going to the movies often on weekends, I spent my formative years acting, singing, and drawing. Over time, I found myself gravitating more towards filmmaking,” he says. However, he feels his journey to this realization wasn’t typical. His path didn’t begin with getting his first camera. “My passion for film grew out of my broader love of the arts. I believe that bringing those outside influences into filmmaking shaped my perspective. This is the acknowledgment of how much cinema is enriched and inspired by other forms of art,” he shares. Throughout his time working on other people’s projects, Villegas decided to self-produce his own animated short film, My Week With Charlie. The plot involves a time he took care of his roommate’s dog named Charlie and the adventures they had, as well as the lessons he learned throughout his time living in NYC. There is a teaser available to watch on YouTube and it’s currently making its runs through film festivals. He is currently working on writing a feature script that he might later adapt into a short film. It’s titled The Love Courier and revolves around a food courier that gets uninvited from his daughter’s birthday party, spending the day delivering and trying to understand the true meaning of love. 

I discovered Villegas on TikTok, where he recently began making content because he wanted an outlet to share his feelings, ideals, and opinions in regard to film and art. He also wanted a way to connect with like-minded people in a creative way. “My initial goal was to talk about the experience of being a beginner in filmmaking and communicate with people who are shifting from working in other departments or need an extra push to make their own indie projects, no matter how big or how small they may seem,” he explains. In his videos  he covers topics like pitching concepts, budgeting, perceptions of success, and equipment. 

Shown to him by a teacher, the documentary Sherman’s March is a film that greatly influenced Villegas. He says it had a profound impact on his perception of storytelling and demonstrated the kind of films he wants to create. “I wouldn’t say I have a single favorite genre, because there are so many that I love. I’ve always been drawn to meta cinema — films that break the fourth wall and reveal something unexpected on the other side. That’s probably why I connect so much with Charlie Kaufman’s work,” he shares. Right now, Villegas feels compelled to make projects that challenge how people think about independent filmmaking. “In many ways, I feel we’ve lost the hunger for telling deeply personal stories,” he says. He feels that phenomenal acting performances and authentic narratives often get overshadowed by technical polish — the latest cameras, lighting setups, or LUTs designed to create a specific aesthetic. While Villegas finds that those elements of filmmaking have their place, he believes that the real power comes from experimentation and discovering your own voice. He argues that most technical skills can be learned from a YouTube video, but that no one else can replicate your perspective or the stories only you can tell.