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“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

“The things that make this movie difficult to put in movie theaters are the same images that social media companies have propagated globally and profited off of. There’s a very interesting tension between who is allowed to address certain things in our society, what kind of position they’re allowed to have,” Daniel Goldhaber tells CULTURED.

The 34-year-old filmmaker has devoted more of his time to making things happen in the real world than consuming them in the virtual realm, going all the way back to his teenage years when he was mounting plays and directing short art films with his longtime creative partner Isa Mazzei. But, in just three movies, Goldhaber and Mazzei have established an incisive and specific body of work investigating the friction between performance, violence, and digital worlds today.

So when Goldhaber and Mazzei were approached by executives at Legendary Entertainment about a remake of a legendary ’70s grindhouse picture, they were intrigued. ‘Faces of Death’ is an artifact from the video nasty era, whose lore was built through whispers and furtively passed VHS tapes. It inspired a macabre fascination, rumored to contain footage of real deaths, prompting bans in the U.K., Australia, and Germany. Goldhaber and Mazzei see ‘Faces of Death’ as a precursor to the world we live in today where the most bleak, terrifying imagery imaginable in 1978 was now available 24/7 on the App Store.

Link in bio to read about how they adapted the film for our times.

Words: @_karlyq_
Photography: @jasonllester

Goodnight moon,
Goodnight Zoom,
Goodnight impending sense of doom.

so so so so thrilled honored blessed excited to be doing this movie with the insanely talented @mgarzacervera and the amazing team at @firstgen_content @nick_massari ✨ the book is eerie and beautiful and surreal and I think you’re gonna love this!

so so so so thrilled honored blessed excited to be doing this movie with the insanely talented @mgarzacervera and the amazing team at @firstgen_content @nick_massari ✨ the book is eerie and beautiful and surreal and I think you’re gonna love this!

WENT TO PUPPET PROM & IT WAS AMAZING ⭐️🤩

WENT TO PUPPET PROM & IT WAS AMAZING ⭐️🤩

WENT TO PUPPET PROM & IT WAS AMAZING ⭐️🤩

The Canva templates and I are back. The Worst Song to 5UCK To is out early! Go read and repent and etc: https://open.substack.com/pub/taragiancaspro/p/182-the-worst-song-to-fuck-to-part?r=diwyl&utm_campaign=post&utm_medium=web&showWelcomeOnShare=true

Get in loser we’re going shopping

Style: @branden.ruiz
Photo: @jasonllester
Fit: @ysl

Get in loser we’re going shopping

Style: @branden.ruiz
Photo: @jasonllester
Fit: @ysl

By @photosbykathlyn at @exnihiloparis

By @photosbykathlyn at @exnihiloparis

If u haven’t seen faces of death in theaters yet u r really not as hot as u could be :(

Yes I am a star ⭐️ yes I snuck harm reduction into a studio movie ⭐️yes I am narcan girl ⭐️

Ty ty to the @am_cinematheque for hosting us and showing our beautiful 35mm print of Faces of Death 💕

Ty ty to the @am_cinematheque for hosting us and showing our beautiful 35mm print of Faces of Death 💕

Ty ty to the @am_cinematheque for hosting us and showing our beautiful 35mm print of Faces of Death 💕

Ty ty to the @am_cinematheque for hosting us and showing our beautiful 35mm print of Faces of Death 💕

Ty ty to the @am_cinematheque for hosting us and showing our beautiful 35mm print of Faces of Death 💕

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

Face card [of death]
It takes a village and I love mine
style by @branden.ruiz
hmu @cindykcruz
carpet photos @photosbykathlyn
bts @jamixparker

very very proud to say my essay “Tetris” has been published by @variety link in bio, go read & (maybe play some tetris tonight) 🟦

very very proud to say my essay “Tetris” has been published by @variety link in bio, go read & (maybe play some tetris tonight) 🟦

very very proud to say my essay “Tetris” has been published by @variety link in bio, go read & (maybe play some tetris tonight) 🟦

very very proud to say my essay “Tetris” has been published by @variety link in bio, go read & (maybe play some tetris tonight) 🟦