'Skinamarink' Changed the Future of Horror

thehauntspot
Jan 5
3 min read

Shudder | TUBI | BayView Entertainment | IFC Midnight

In 2022, Kyle Edward Ball and Dylan Pearce released what would become one of the most divided features of the 2020's. After over ten years of Arthouse Horror (or Elevated Horror) dominating the genre, we're seeing a major shift back to independent, low budget stories. Leading the charge is the YouTube originated and younger sibling to 2000s found footage, Analog Horror.

Although the quiet and offbeat film was met with pushback, Skinamarink not only brought Analog Horror to the mainstream, but changed the future for Horror.

Shifting horror subgenres is not uncommon when it comes to the mainstream. We've seen this shift take place since the birth of the genre: Creature Feature's long run moving into Slashers. Slasher films becoming stale, only to add onto major franchises with meta satire on their own subgenre. Then, moving to found footage to the haunted house/possession trope that lasted nearly 20 years.

Arthouse Horror shook viewers in a way that hadn't really been done before. While paying homage to Horror classics, it turned the genre on its head by highlighting psychological commentary, the "hiding in plain sight scare," and leaning into a frightening atmosphere over the classic jump scare. Made popular by titles like, The Babadook, The Witch, Hereditary, and Get Out.

What once was a genre for independent filmmakers with fresh ideas, is now being oversaturated with major studios pumping out watered down versions of these stories. Out of touch and ill-informed conversations about trauma and the use of a violin (which was featured in nearly every trailer last year.) The shift out of the long run of Arthouse Horror seems to be a response to the world around us and the rise of "the Analog Life."

2026 Brings the Return to Analog

With the popularization of zines, MP3 players, and VHS, it's no surprise that it would find a home in the horror space. We're in a time where we desire connection and to return to a time when media wasn't controlled by corporate streaming services.

Analog Horror is as independent as it gets. The sibling to found footage gained traction on YouTube through series like The Walten Files, Blue_Channel, Petscop, The Mandela Catalogue, and most recognizable, The Backrooms.

The subgenre has been around for a while and has only gotten better with age. Though similar to found footage, the notable differences are in the intent and style. Primarily focused on the uncanny design, degraded footage, and walking the line of reality and "I've seen this place in a dream" nostalgia.

Skinamarink shook audiences with its clear Analog direction and experimental storytelling. Though some viewers felt the film was "POV you stare at the wall for 100 minutes", it started conversation in the Horror scene again. It's a real achievement to have such differing opinions! Had it been "meh" across the board, that would've been an insult.

Since its release, Analog Horror is showing its face in other theatrical releases. Atomic Monster and A24 producing Kane Parson's feature directorial debut, The Backrooms, later this year. As well as marketing for LongLegs and Cuckoo.

Making the subgenre work for a narrative feature is no easy task. Skinamarink opened the gates to achieve it beautifully by adding what made the Arthouse subgenre so special. Taking the hiding in plain sight element and commentary narratives to blend in easily identifiable Analog design from its YouTube origins.