I Walked with a Zombie / Seventh Victim (Criterion) 09/24 Blu-ray (Rental)

Terror lives in the shadows in a pair of mesmerizingly moody horror milestones conjured from the imagination of Val Lewton, the visionary producer-auteur who turned our fears of the unseen and the unknown into haunting excursions into existential dread. As head of RKO’s B-horror-movie unit during the 1940s, Lewton, working with directors such as Jacques Tourneur and Mark Robson, brought a new sophistication to the genre by wringing chills not from conventional movie monsters but from brooding atmosphere, suggestion, and psychosexual unease. Suffused with ritual, mysticism, and the occult, the poetically hypnotic I Walked with a Zombie and the shockingly subversive The Seventh Victim are still-tantalizing dreams of death that dare to embrace the darkness. 4K UHD + BLU-RAY SPECIAL EDITION FEATURES New 4K digital restorations of both films, with uncompressed monaural soundtracks One 4K UHD disc of the films and one Blu-ray with the films and special features Audio commentary on I Walked with a Zombie featuring authors Kim Newman and Stephen Jones Audio commentary on The Seventh Victim featuring film historian Steve Haberman Interview with film historian Imogen Sara Smith Audio essays from Adam Roche’s podcast The Secret History of Hollywood featuring stories about the casts, crews, and productions of both films Shadows in the Dark: The Val Lewton Legacy (2005), a documentary featuring Newman; Val E. Lewton, son of producer Val Lewton; filmmakers William Friedkin, Guillermo del Toro, George A. Romero, John Landis, and Robert Wise; actor Sara Karloff; and others Excerpts from “The Origins of the Zombie, from Haiti to the U.S.,” an episode of the PBS series Monstrum, hosted by scholar Emily Zarka Trailers English subtitles for the deaf and hard of hearing PLUS: Essays by critics Chris Fujiwara and Lucy Sante I WALKED WITH A ZOMBIE Producer Val Lewton and director Jacques Tourneur elevated the horror film to new heights of poetic abstraction with this entrancing journey into the realm between life and death. When she takes a job caring for a comatose woman on a Caribbean island, a young nurse (Frances Dee) finds herself plunged into a mysterious world where the ghosts of slavery haunt the present and Vodou priests have the power to summon the living dead. Sugarcane swaying in a moonlit field, the hypnotic beat of ceremonial drums, the relentless pull toward death—the otherworldly atmosphere of this bold reimagining of Jane Eyre is as close as studio-era Hollywood ever came to pure dream-state surrealism. THE SEVENTH VICTIM “Death is good” is how producer Val Lewton summarized the message of his films, a credo that received its most explicit expression in this strikingly nihilistic shocker, the first film directed by regular Lewton editor Mark Robson. Kim Hunter makes her film debut as a young boarding-school student who, in search of her missing sister (proto-goth icon Jean Brooks), travels to New York’s bohemian Greenwich Village, where she uncovers a sinister shadow world of devil-worshippers and murder. And what about that mysterious room furnished with nothing but a chair and a hangman’s noose? With its daring treatment of depression and queerness, The Seventh Victim has haunted the margins of cinema for decades, its radical bleakness undiminished by time.