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He busies himself with various tasks, like recording video podcasts on a number of topics, building out his taxidermic bird collection, caring for a room full of lush orchids, and occasionally hopping on Zoom to chat with his loved ones. He’s divorced, recently decamped to a new town away from his friends (like best friend Terry, played by Felonious Munk) and family (including his ex-wife Kelsey and her new husband Isaac - played by real-life couple Kate Arrington and Michael Shannon - with whom Ken is still close), without a job, and unwilling to leave his drafty apartment. When we first meet Ken, he’s already in peril. There are people who get to be afraid and there are people who get to be anxious, and then there are people who are feared and who don’t get to be thought of as vulnerable, or get to be thought of as prey when, in fact, that’s exactly what this world is for certain people.” For the director, it was “a way to think about the parallels in real life. “The Ken Barber in the script that I got, his race or ethnicity was not identified,” Reeder said, though she soon hit on the idea of casting the sort of hero not always centered in horror films: a Black man. Ken’s scared a lot, and he has every right to be. The film follows Ken Barber (Geno Walker), a shut-in who soon finds himself haunted by a nefarious spirit who seems all too eager to bust loose of both Ken and his creepy apartment. The chamber piece, initially just dialogue, offered Reeder the chance to put her own stamp on the project, bolstered by the kind of male lead she had been looking for.
When Neveu, an accomplished playwright who teaches at Northwestern, sent Reeder his script, it clicked. (Reeder was quick to note two things: 1) she knows saying that sort of thing is “bold,” but it’s really how she feels, and 2) for anyone afraid she’s moved away from those sorts of features, she’s literally prepping a film based on those those same themes right now, a “coming-of-age shapeshifter” story with a teenage girl at its center, also produced by Shudder.) The 15 Best Thrillers Streaming on Netflix 'Bridgerton' Season 2: Everything You Need to Know About the Netflix Hit How Feminism, Blockbusters Like 'Jaws' and 'Star Wars,' and the Ratings System Killed the Erotic Studio Film And I thought, ‘Of course, you send that to me, but unless it’s better than what I can write, I’m not going to do it.'”Īs Chris Pine Readies for His Next Hollywood Chapter, He's Intent on One Thing: 'Following the Giggle' “Especially during the pandemic year, I read a lot of scripts, a lot of scripts were submitted to me, and it was a coming-of-age, surreal noir. “I had been looking for a script with an adult male as a lead, partially because I had an idea of what I could do through a kind of feminist lens with a particular kind of male lead,” Reeder said in a recent interview with IndieWire. In the Shudder-produced “Night’s End,” written by Brett Neveu, Reeder found exactly what she was looking for, a fresh injection of perspective and theme that the genre needs now.
When it came time to tackle her next feature film, Reeder was searching for something new, and a little scary: putting her own stamp on a story about not just a man, but the kind of man too often unable to express his own fears.
Jennifer Reeder’s bonafides as a horror director - particularly one attuned to the terrifying travails of the female teenage experience, a la her breakout “Knives and Skin” - are unimpeachable, but she’s never been eager to do the same thing twice.
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