Ben Coren

Ben Coren’s fingerprints are all over some of the most gut-punching films of the last decade. Think about “How I Live Now” (2013), a sort of coming-of-age war drama that doesn’t play by the rules. It’s dark, moody, a bit feral, and Coren’s touch brings this undercurrent of realness to everything—like, you actually care what happens to these kids stuck in the middle of chaos. Then there’s “The Father” (2020), which, man, if you’ve ever wanted a movie to wreck you emotionally, that’s the one. The way it messes with perspective, the way Anthony Hopkins’ character just sort of slips through the cracks of his own mind… it’s brutal and beautiful at the same time. Coren manages to keep things from getting too melodramatic, grounding the whole thing so it feels raw, not manipulative. Now, “Three Billboards Outside Ebbing, Missouri” (2017) is just a beast of its own. It’s angry, it’s messy, and it doesn’t care if you’re uncomfortable. Coren’s influence shows up in those sharp, almost painful moments of silence, the way the story pivots from dark comedy to gut-wrenching drama in a heartbeat. There’s a vibe of authenticity—like, yeah, people are complicated, and sometimes justice is just a word. Across all these films, Coren’s got this knack for finding humanity in the weirdest places, and honestly, it’s why these movies stick with you long after the credits roll.