A satire set in the contemporary art world scene of Los Angeles, where big money artists and mega-collectors pay a high price when art collides with commerce.
A satire set in the contemporary art world scene of Los Angeles, where big money artists and mega-collectors pay a high price when art collides with commerce.
In an interview with Insider, director Dan Gilroy reveals that the name, Vetril Dease, is a real name that belonged to a man who lived in the 1800s. He discovered the name while researching names in census rolls for a film project he did a decade prior to this film. He states, "I collected like 50 names, and one of them was Vetril Dease. So Vetril Dease was a real person who lived in South Carolina in the 1850s, and I've resurrected him somehow." See more »
Goofs
Several characters are seen smoking in the galleries. This is a major breach of etiquette in the art world and likely against laws regarding smoking in public (filmed in Miami, there is a Florida statute banning public smoking). See more »
Quotes
Piers:
I am fighting to get back to creation, to revelation, the billion years of energy sparking through our brain.
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Crazy Credits
During the first part of the credits, Piers is creating art in the sand. See more »
It's a bit ironic, this film that wants to explore the vapid shallowness of the fine art world in a stylish horror movie setting... ends up inviting the very same criticisms that the finely dressed tastemakers in the film fling about.
Ok. Buzzwords aside. I did enjoy this film more than I disliked it. But in all earnestnest, it was by a hair. Knowing this came from the same guy who made the excellent psochological thriller Nightcrawler. This is like asketchbook of ideas for a giallo-inspired slasher. Each individually awesome. But there's no real throughline to keep us going. People pop up until they die gruesome deaths. It feels kind of slapped together haphazardly.
I expected more from Gilroy
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It's a bit ironic, this film that wants to explore the vapid shallowness of the fine art world in a stylish horror movie setting... ends up inviting the very same criticisms that the finely dressed tastemakers in the film fling about.
Ok. Buzzwords aside. I did enjoy this film more than I disliked it. But in all earnestnest, it was by a hair. Knowing this came from the same guy who made the excellent psochological thriller Nightcrawler. This is like asketchbook of ideas for a giallo-inspired slasher. Each individually awesome. But there's no real throughline to keep us going. People pop up until they die gruesome deaths. It feels kind of slapped together haphazardly.
I expected more from Gilroy