As fun as a straight-forward monster movie can be, with clear delineations between good and evil, sometimes something more meaty is called for. I’m not talking about the almost cynical nihilism that you see more often than I’d like in horror films; I’m thinking more of the quiet, introspective dread that you see from time to time, especially in the more supernatural films. Horror that disquiets at least in part because it is taking base human needs and emotions and exposing the potential monstrousness that’s there.
It Follows opens with an anonymous girl fleeing her home, attracting the concern of her neighbors, before racing away to the beach in her car, making one last phone call to her parents, and then being found the next day brutally murdered. It then cuts to Jay, a young woman preparing for a date with Hugh, her new boyfriend, while her sister, a friend, and the “nice boy next door” Paul all hang out in her living room. On their date, Hugh seems somewhat melancholy, and cuts the date short when he thinks he sees a woman entering the movie theater behind them, but Jay agrees to see him again anyway. On their next date, after having sex in his car near an abandoned factory, Hugh choloroforms Jay, straps her to a wheelchair, and explains to her that he has passed on a curse to her. An entity will start following her, moving at a slow walking pace, and will kill her if it catches her unless she passes the curse along to them. Only people with the curse will be able to see this Follower, and it will start to move back up the line of previous targets if it kills the current one. When a strange, naked woman starts walking towards the two of them, Hugh takes Jay home. The nature of her delivery, and the fact that Hugh lied about his name and where he lives leads everyone to presume Hugh raped her, but in a few days, Jay starts seeing strange figures following her that no one else seems to be aware of. Her friends, somewhat skeptical, agree to keep her safe, but no matter how far they flee or how many people Jay attempts to pass the curse on to, it keeps coming back to her. Eventually she and her friends attempt to trap and kill it at a pool, and while it’s possible they succeeded, the film ends without a definitive answer.
A lot has been written about the symbolism and metaphor in It Follows, much of it focusing on what some see as an essentially conservative, anti-sex message in line with the sort of “if you have sex you’ll die” morality of 80s slasher films. I don’t really accept that, especially as I can’t help but see that as a gross misinterpretation of what was actually going on in those 80s slasher films, but also because it doesn’t really fit at all with what’s going on in this film. Jay, as we learn, isn’t a virgin, so it’s not as if she’s being punished for having sex, full-stop. Yes, the curse is acquired through sex, but it’s also lifted, at least temporarily, through sex. Sex is a primal human drive, but it’s also a very adult drive, and is often seen as the unofficial rite of passage into adulthood. And adulthood means responsibilities, but it also means mortality. The Follower isn’t so much coming to get you because you were a bad little girl or boy and have to be punished, it’s coming for you because everyone, eventually, dies. And this is just the nature of your death.
Or, you know, not. It Follows is deliberately elusive, and layers in metaphor and subtext to the point where a number of possible meanings present themselves and can be convincingly argued. The repeated connections to water, reflections, point-of-view shots, white-clothing, watching others; there’s quite a few ways a careful viewer can dig into the film, and unlike most times a film-maker does this, the freedom granted to the viewer to interpret feels like a specific choice the film-makers made, to give viewers room while still telling their story.
Given this elusiveness, the bare nature of the Follower works well. One of the things that aggravates me with supernatural horror films, is when a creature is given specific weaknesses and rules it must follow, which are then disregarded in favor of a cheap jump scare or one of those cynically nihilistic endings I mentioned earlier. The audience barely knows anything about the creature because the characters barely know anything about it, and what they do know is pieced together and hearsay. And because of that, since we don’t really know what this thing is or how it works, the question of origin or motivation are moot. Even one of the central mysteries, why it changes its appearance, to what end, and why it chooses who it chooses, are only the subject of conjecture by the characters. It’s nice to see a horror film embrace the alien and unknowable, and the dread those bring, rather than make something blandly quotidian by over-explanation.