The End of Oak Street: All Feathers, No Bones
I was a huge fan of It Follows, like so many. David Robert Mitchell’s 2014 breakout was lean, inventive, and genuinely unsettling. It was the kind of early career work that makes you want to follow a filmmaker for the rest of their career. So when his follow-up, Under the Silver Lake, landed him in “director jail,” it felt like an overreaction.