“I was literally dying, sick to my stomach like, 'Is this going to work?,’” director Halina Reijn says of the film’s ending.
quickly became attracted to the idea that the horrors that befell the group—both interpersonal and fatal—should instead be of their own making. “The core theme of the film is, ‘Is the killer outside of you, or is he inside of you? Are we beasts, or are we civilized?’” Reijn explains.
That the fragility of the male ego was ultimately responsible for inflicting immense amounts of pain and trauma onto a group of young women was fundamental to Reijn’s storytelling. “It’s a metaphor of an old world. It’s a metaphor of a time that, hopefully, we’re still fighting to get that behind us.
Davidson was more than game to tap into his darker side to take on the toxically insecure David. “He knew exactly what I was talking about. He literally said he knows guys like that,” Reijn recalls. “He really enjoyed channeling it.” Reijn calls thealum a “genius of an improviser” who came up with one of the most instantly quotable lines in the film. “The lines where he goes, like, ‘I look like I fuck, that’s the vibe I want to put out there.’ He just comes up with that.
Along with letting the camera linger, Reijn applies a theater vet’s collaborative spirit and discipline to her filmmaking. “Sarah DeLappe and me are really fascinated in working with Shakespeare, and Ibsen, and O’Neill, and just trying to steal and be inspired by them,” she says. She credits experimental Dutch theater makeras her biggest artistic influence. “I have no film school. I work on intuition,” Reijn says. “But my school was working with him and living in all these plays.
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