A big reason why Oz Perkins responds to all the prerequisites of authors' theory is that he does not make movies just for Loveube to the medium, and of course not just selling a product or working for a salary. Each of his films is also personal, also because he uses the horror genre to explore topics and concepts that, in a non-genre setting, can be too cruel and disturbing to most audiences. The Blackkoat's "Daughterian" is, after all, a loss film, something that Perkins unfortunately suffered when it comes to both parents. "I'm a nice thing ..." is a movie that Perkins has made about his attempts to connect with his late father, as he revealed in an episode of Podka "Post Morte with Mick Garris". "Gretel and Hansel" - The only movie Perkins did what the script did not write - refers to a pair of children left on their devices abandoned by their parents. Longles goes even beyond that, telling a story of a woman who is flat from betrayed by her parents, where her mother's sins are visited to her tenfold.

It is clear that Perkins has a lot of unsolved feelings for parenting, pressures on children and parents who either avoid their responsibilities or have somehow undermined. Much of this topic must come from Perkins' personal life and relationship with his late parents, Along with the bizarre nature of how they both died: Anthony Perkins of HIV/AIDS contraction kept secret, and Barry Bererson to be a passenger on one of the aircraft that hit the World Trade Center on September 11, 2001. Perkins did not try to deny these relationships and once you are aware of them, you can see their influence on all his films, but especially "Monkey". Only in this film, there is a boy obsessed with the legacy of his late father, another guy who desperately tries to connect with his distant father, the Gemini boys have made him desperately of the untimely loss of their beloved mother and, to the end, the overhaul of aircraft. Filled with passengers coming out of the sky (an element that, from this writing, has too much resonance for all of us, not just the director).

If there is a silver coating for all this, it is that the use of his work on Perkins as a form of therapy can really work. There is no way to know that for sure, of course, and it is far away for me to imply any parasocial understanding of man's private life. However, iousbopitic is that the "monkey" is so toned for the director, along with the fact that it is the first film to be thrown as an actor, and his character is the only father figure in the film we see suffering A. gruesome death. It feels like Perkins is enough for an artist as well as a human being to realize that he cannot escape to point to himself, which is usually a good indicator of someone who is well suited. Now, when Perkins is laughing, as well as crying, melpomen and Thalia, it is exciting to predict what new aspects of these topics, horror and cinema will explore next.