Why did they remake ‘Faces of Death’? And why is it so good?

by

1

I remember first hearing about “Faces of Death” as a kid – it was the movie everyone talked about, usually passed around on VHS at sleepovers or as some kind of twisted dare. Released back in 1978, it was this incredibly shocking collection of real-life deaths, and it spread like wildfire before ‘going viral’ meant sharing things online – it was all about trading tapes back then!

Okay, so the movie wasn’t really what everyone thought it would be – it was this weird mix of stuff that looked planned and like it was actually filmed as it happened. And honestly, that just made it more famous, almost like it was something you weren’t supposed to see. The fact that it got banned in a bunch of places? That just made people want to see it even more, it was a huge part of the appeal!

Despite not being an obvious candidate for a remake, the new “Faces of Death” offers a modern take on the original while maintaining its unsettling and dangerous atmosphere. Director Daniel Goldhaber, a rising talent known for his culturally relevant films like the online thriller “Cam” and the eco-activist heist movie “How to Blow Up A Pipeline,” might seem like an unexpected choice for this project.

Goldhaber, 34, argues that the film ‘Faces of Death’ is deeply political, especially considering it was made after the Vietnam War. He points out that the film directly connects issues like domestic violence to genocide, suggesting it’s a surprisingly thoughtful work.

Goldhaber considers himself a digital native, having come of age with the internet. Originally from Boulder, Colorado, he had a rebellious school experience, being expelled from five different schools before ultimately being accepted to Harvard.

He explains that he’s always struggled with making genuine connections in person. He also felt that connecting through online platforms, while offering a connection, ultimately changed how he saw himself.

It took a while to bring the new version of “Faces of Death” to life. Filmmaker Goldhaber and his collaborator Isa Mazzei first presented the idea in 2019, after Legendary Entertainment expressed interest. Now, the movie will premiere on April 5th at the Beyond Chicago festival, followed by screenings at the Aero Theater in Los Angeles on April 7th and the Overlook Film Festival in New Orleans on April 9th. It will then be released nationally in theaters on April 10th, distributed by IFC and Shudder.

Looking back at the original film now, it’s actually a little shocking how it holds up. As the creator points out, the special effects, like the beheadings, don’t really seem convincing by today’s standards – we’ve seen too much realism! But there’s something really interesting about that – it highlights how far we’ve come and how our expectations have changed. It’s a surprisingly powerful observation.

He wonders what it’s like to live in a world where you can instantly access any content imaginable. He points out that even the most disturbing and frightening media is now constantly available on our phones, and that tech companies are making money from it. He believes this represents a deeply unsettling change in how we relate to violence and media.

The original film featured an actor acting as a guide, showing viewers disturbing footage. The new version has a full story: Margot, a young woman in Louisiana, works as an online content moderator after experiencing online notoriety. She spends her days reviewing shocking videos. When she starts to suspect some videos are actually real recreations of scenes from the notorious “Faces of Death” film, she begins to investigate.

Her amateur sleuthing catches the eye of the disturbed creator of the videos (a chillingly effective Dacre Montgomery), who then targets her, launching a dangerous pursuit. Singer and actress Charli XCX appears as a coworker who is much more casual about their work.

In a recent video interview from her Los Angeles home, actor Ferreira shared that while filming “Faces,” she was immersed in true crime podcasts and violent online content. She also explained she had to consciously take care of her voice. “It’s not as simple as it looks to be a ‘scream queen,'” she joked.

After filming finished, she relaxed by watching shows like “SpongeBob SquarePants” and other lighthearted programs, to help her unwind and clear her head.

Ferreira first became well-known online through her popular Tumblr blog. She then moved into modeling and acting, achieving significant recognition for her role in the first two seasons of the show “Euphoria.” She immediately felt a strong connection with the script written by Goldhaber and Mazzei.

Ferreira explains that the internet has been an amazing resource, helping her achieve everything she has so far. However, she also acknowledges its potential dangers and emphasizes the importance of setting personal boundaries to protect herself.

Goldhaber and Mazzei briefly dated in high school in Boulder, where they both grew up.

“It’s a really sweet story,” Mazzei shared over the phone from Los Angeles. “We’ve been close friends for a long time, ever since we were high school sweethearts. It feels good,” she added.

They began working together in local theater and later moved on to filmmaking. The movie Faces of Death is officially credited to Isa Mazzei and Daniel Goldhaber as its directors.

Mazzei, a co-writer and executive producer on “Faces,” explains that Goldhaber excels at making everyone feel included and allowing them to contribute as much as they’re comfortable with. While he has a clear vision, filmmaking is so collaborative it’s often hard to pinpoint the origin of specific ideas. Mazzei believes people enjoy working with Danny because he inspires them to improve and reach their full potential.

Mazzei explained that the current system for movie credits doesn’t really allow collaborators to officially say they created a film together, beyond simply sharing a ‘film by’ credit. However, that’s essentially what happened with this project – they developed every aspect of it as a team, from initial ideas to casting and everything in between.

Ferreira immediately connected with Mazzei, believing they represent the future of cinema. She was impressed by their innovative perspective and unique artistic approach, noting their fresh ideas and how they present their work.

Goldhaber often thinks back to the summer in the early 2010s when he worked as a content moderator for a new internet company – it was a truly formative experience. He discovered that people who share shocking or extreme content tend to concentrate on new platforms, overwhelming them until those platforms are forced to shut them down, at which point they simply move on to the next site. He encountered content that was so deeply disturbing he’s reluctant to discuss it, admitting it was “really upsetting stuff.”

He described initially being haunted by the disturbing images he saw, experiencing nightmares. Eventually, though, he said he became somewhat used to them, which he found deeply unsettling. It also sparked an idea for a film—a story similar to movies like ‘Blow-Up,’ ‘Blow Out,’ and ‘The Conversation,’ where a character uncovers something and becomes obsessively drawn into investigating it.

Some of the visuals experienced by Ferreira’s character are real online content, carefully selected and shortened.

Goldhaber explains that the filmmakers always intended for the movie to feature genuine death. However, getting approval for such content in a widely released film was a major challenge. They believed watching something disturbing privately on a personal device is different than experiencing it collectively in a theater, where the impact and potential for moral concern are much stronger – and that difference was precisely what they aimed for. They wanted to create something that felt risky and provocative.

Goldhaber stated the film was fully completed around June 2024, but he hasn’t watched it in two years. Since then, he’s been busy with other projects and has been living in Berlin.

Goldhaber explained the film’s release was delayed because it took time to find a distributor who fully supported the film’s message. Building that kind of partnership doesn’t happen overnight.

His previous film, “How to Blow Up a Pipeline,” first shown at the Toronto International Film Festival in 2022, was released in theaters in 2023. Despite positive reviews and a promising young cast, it didn’t attract a large audience and earned only about $1 million in ticket sales.

The reaction to Goldhaber’s “Pipeline” helped him realize he didn’t need to be so controlling in his work. He uses Ari Aster’s film “Eddington,” a commentary on small-town life, as an example of a movie that captures the spirit of the times without being preachy.

I wasn’t suggesting anyone take drastic actions like sabotage, but I was really trying to get people to pause and consider how they were talking about things. I wanted them to think through the real-world consequences and the ethics of what they were saying, you know, actually weigh the moral implications.

The creators of “Faces of Death” fought to get an R rating, but they’ve recently had trouble with the MPA over the images used on their posters. Reflecting on the making of the film, director John Goldhaber compares it to Jean-Luc Godard’s idea that every movie is, in a way, a self-documenting process.

He admits making a film that tackles a major taboo was always going to be challenging. He acknowledges he initially underestimated the difficulties, but believes the struggle was worth it. He hopes the final product will be both entertaining and frightening, while also prompting viewers to consider new ideas.

Many filmmakers today avoid showing modern life, opting for historical or fantastical settings because they don’t want to include smartphones and how we live now. However, Goldhaber’s “Faces of Death” directly addresses contemporary technology.

Goldhaber believes modern movies aren’t reflecting how we actually communicate today. We constantly share things like GIFs, photos, videos, and memes – a completely different way of connecting with each other. He argues that filmmakers have a responsibility to show these current forms of communication in their work.

Many of the most influential filmmakers today didn’t come up with the media that younger generations are familiar with. Because of this, their movies often feel disconnected from what audiences want now.

He cites Mark Fischbach’s “Iron Lung” as a good example – a low-budget sci-fi horror film that proved successful in bringing a YouTube audience into movie theaters earlier this year, and suggests it could be a model for future projects.

Goldhaber’s fresh take on an outdated media format might help people understand what it feels like to live in today’s constantly connected world, whether they enjoy it or not.

Despite talk of Hollywood or movie theaters failing, Goldhaber believes the real issue isn’t a lack of interest from audiences. Instead, he argues that people aren’t seeing films that truly resonate with their lives – movies that, at their best, have always mirrored the world around us.

Goldhaber is boldly taking on a project others considered untouchable, and in doing so, is pushing Hollywood towards an unpredictable future, ready or not.

Read More

2026-03-31 19:02