“Bodies Bodies Bodies” is all killer and no filler

Gen Z is something that has been hard to define for a lot of people, partially because most of them haven’t even been around long enough to do so. It’s been especially hard for filmmakers to represent the generation, as there are very few within it that are helming projects directly, facing it down, as well as it being elusive to millennials and beyond. Most attempts to relate or define Gen Z are often embarrassingly out of touch or downright corny in film and TV. 

Although director Halina Reijn was born in 1975, it seems as though she has no trouble at all tackling the subject and almost seems to have a better grasp of it than most Gen Z kids themselves. 

“Bodies Bodies Bodies” is Reijn’s comedy/horror/thriller released by A24 that takes a stab at the slasher/whodunnit subgenre, while also attempting to be a commentary and satire on Gen Z. It stars young and upcoming performers including Rachel Sennott, Maria Bakalova, and Pete Davidson. This is the second feature directed by Reijn following her 2019 film “Instinct”. 

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The film caught a fair amount of criticism before, and even after, its release about the nature of satirizing a generation that envelops a large amount of people who aren’t even out of high school yet. The trailer elicited a lot of people calling out things previously mentioned when dealing with the subject, with some calling it too “on the nose” or “cringey”. 

But the proof is in the pudding, as “Bodies Bodies Bodies” proves itself to be a best-case scenario for something that could have been completely tone-deaf. It provides a commentary that is simultaneously hilarious and eye opening, highlighting the way in which the generation deals with trauma, friendships and conflict. 

The film follows our main characters, Bee and Sophie, a couple that are six weeks into their new relationship. We begin with them showing up to a party with Sophie’s childhood friends at a secluded mansion for a “hurricane party.” Immediately upon arriving, unspoken previous tensions arise as Sophie shows up and introduces her new girlfriend. 

In all, the full cast of the film is only eight actors, one of which is only in a single scene, so seven main characters. As the night progresses, things start to go wrong, and the bodies start piling up. The film primarily focuses on our characters trying to figure out who is committing these murders and why. Very quickly the paranoia mounts and fingers get pointed in every direction, as everyone is seemingly suspect.

The film functions as an extremely satisfying and tense thriller, while simultaneously developing and contextualizing complicated interpersonal relationships between the characters in a distinctly “gen z” fashion. Characters use buzzwords galore, feeling “triggered”, being “gaslit”, and “trauma dumping” throughout the film’s tight 94-minute runtime. While at face value, it seems generic and surface level, it’s able to highlight the absurdity in the way internet discourse has bled into casual conversation, while also being hilariously biting.

The performances are what primarily carry this movie into greatness. Another aspect that could have made the script/dialogue feel out of touch is if the actors weren’t completely committed to the material. But there aren’t anything but great performances throughout. Even characters that get less screen time than others leave a lasting impression that makes you miss them once they go. Standouts being the expertly unhinged Rachel Sennott along with Maria Bakalova, who’s infinitely likable but always keeps you guessing. 

The cinematography showcases what is one of the first horror-adjacent films in years that can fully utilize darkness in a way that feels new and fresh. Early on, the power goes out in the house, so everyone is using their cell phone flashlights for the rest of the film. This creates unique lighting scenarios, where the primary light source is harsh LEDs rather than a traditional lighting setup. This works excellently on a thematic level as well as having a unique look.

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The camerawork is tight and intense, working with handheld cameras that are often placed right next to characters’ faces. Combining this with the film being in complete darkness, except the cell-phone lights, makes action heavy scenes just the right amount of anxiety inducing. 

“Bodies Bodies Bodies” somehow threads the needle with two techniques critics often despise, shaky cam and harsh, bright lighting. But in its unique circumstances, they work in perfect harmony. 

The score from Disasterpeace is also a highlight, utilizing jerky electronic beats and synthesizers to add to the film’s aesthetics, as well as heightening the tension. I hope to see them tackle more horror-adjacent scores in the future, as they were also responsible for 2014’s “It Follows” score which was one of the decade’s best. 

“Bodies Bodies Bodies” has a fair share of homage to its roots, but is equally subversive, making an experience that I would recommend to any film goer this late summer season. While it may ruffle some feathers with its thesis alone, it makes the absolute best out of a risky play that could have ended disastrously. 

A24 has been largely spearheading what feels to be an indie horror/slasher renaissance with this year alone being host to deliciously original films like “X” and “Pearl”, as well as “Bodies Bodies Bodies,” creating an exciting period for any horror fan.  

Staff reporter Zaden Dennis can be reached at [email protected] and you can find his other reviews at letterboxd.com/Zadenator. To stay up to date with all your Southern Illinois news follow the Daily Egyptian on Facebook and Twitter.

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