Let me start with a brief detour, a little story that I find very relevant to the subject at hand.
When I was in middle school, I had a very eccentric art teacher. I did not approve of his teaching methods, he did not approve of my attitude. Needless to say, a small conflict of opinions ensued at the time, partly due to his eccentricity and personal views but mostly due to my stubbornness and inability to appreciate his genius: little did I know that many years later, I would recall him as one of the greatest personalities I have ever met in person in my life.
One day, at the beginning of the class, he started complaining about something. He was outraged about the fact that lately, more and more books of fictional literature had started including illustrations in them. He went on to say that this was the most absurd thing, because by imposing an artist's visual depiction of elements in the story, the reader's own imagination is practically killed! The reader, especially children and teenagers, must rely solely on their own imagination and knowledge to "visualize" the book, to imagine themselves what they would actually see as they read the book.
At that very moment, I did not give much thought to his complaint. But after a while, thinking back about the many Jules Verne novels read during my childhood, I remembered it all too well: there were exhilarating moments while reading his novels when my imagination was absolutely pushed to its limits, when I was almost desperate to coagulate in my mind an image of the fabulous contraptions, landscapes and characters that Jules Verne was so adept at putting on paper. I was so anxious to see a drawing, a sketch, anything - an almost painful curiosity was stirred inside me. But then I realized that, had I been spoon-fed with such illustrations throughout the lecture, my imagination and enthusiasm would have been greatly numbed, by comparison. But since I hadn't been shown any of it, having been left at my mind's own struggle to "see" what I was reading, it made it some of the greatest and most exhilarating reading experiences of my life.
This simple principle that my art teacher taught me can be very, very relevant in film-making as well. And since I'm talking horror films today and, in cinematography, because of its very nature, you can't not show anything, I would slightly adapt this principle to this form: the less you actually see and the more you let your own imagination do the rest, the more intense the experience.
Our brain needs just a little "push", a small spark that will fiercely light up our imagination in a matter of milliseconds: a barely distinguishable silhouette, standing still or moving in the distance. A sudden movement, of an object that is not at all what it appears to be. A play of shade and light that suddenly reveals something entirely unexpected. An eerie sound, signaling that there's something more than meets the eye. (But not those cheap types of jump scares, which come and go and exist just for a moment's sake and to catch off-guard the viewers.) And all these sometimes happening in a flash, a frame so brief that you might almost miss it if you blink. But if you do catch it, if you brain's fuse has been successfully lit up and your imagination fills up the realization of what you've just seen, then there you have it: the essence of the feeling any good horror movie should aim to give you. For me at least, this is the key ingredient that can make the difference between a good (or a bad) and an exceptional horror/thriller movie.
I'd like to recommend now some of my favourite horror movies, which fit the description above. Some are cult classics, some are lesser known, but each of them has at least a few scenes where you get that "spark" I've mentioned before (which, of course, I won't spoil below), adding up to a great viewing experience.
Signs (2002)
The Village (2004)
Again, M. Night Shyamalan combining primal fear elements with his trademark plot twists.
The Blair Witch Project (1999)
The well-known cult classic horror "mockumentary". The first movie, as far as I can remember, that introduced me to this style of imagination-based horrors - and it was surprisingly effective at doing so.
A Tale of Two Sisters (2003)
My favourite Asian horror film. It masterfully crafts suspense, while cleverly employing without overusing the well-known cliches that are common to many related Asian films.
The Descent (2005)
This movie exploits two of our basic fears, the fear of darkness and claustrophobia. Add in a lengthy suspense build-up and the occasional "suspicious" glimpses that will make you ask yourself "What did I just see there for a split second? Was there something in the dark or is my mind trying desperately to recognize shapes and figures in an unfamiliar place?" and you get a really intense ride.
"Millennium" series (1996 - 1999)
"Millennium", the brainchild of "The X-Files" creator Chris Carter, is my favourite TV series of all times. Many of its episodes are true masterpieces, revolving around the question of what evilness actually is, if it's an innate human trait or if there's something more to it. And this question gave birth to some very atmospheric and suspenseful episodes that can be regarded as true horror movies themselves. Speaking of which, "The X-Files" series also had their fair share of great horror episodes, combined with the supernatural or sci-fi themes that the show is so renowned about.
Before I "sign off", I'd like to mention - as a habit continued from previous posts - my 2 favourite horror video games. Like I've said before, the line separating films from modern video games is getting slowly blurred on many aspects. The interactivity that is still specific to games can have a great impact for horror storylines, where all of a sudden you, the player, are the character of the story, so the experience can get a lot more personal and intense.
Amnesia: The Dark Descent (2010)
"Amnesia" is widely regarded as the scariest game ever made, an opinion that I completely agree with. It's a terrifying survival horror experience, where you don't get to defend yourself, you're just a confused human being, bordering insanity, having to rely on your wits to hide from and overcome the dark presences in your path.
F.E.A.R. (2005)
F.E.A.R. masterfully combines modern horror elements from Asian cultures with supernatural happenings, military action and shady corporations. The result is one of the most atmospheric first-person gaming experiences you can ask for.
