David Darby

David Darby’s name keeps popping up lately, and honestly, it’s not hard to see why. He’s got that knack for picking projects that don’t just blend into the background. Take “Death of a Unicorn” (2025), for example—yeah, the title already sets it apart. People are buzzing about what kind of twisted fairy tale or metaphorical wild ride it’s gonna be. There’s this undercurrent of mystery around the whole thing, and knowing Darby’s style, it’s not gonna be your standard Hollywood fare. He’s not afraid to get a little weird, push some buttons, make people squirm in their seats (in a good way). Then there’s “Lazarus Go Home” from 2013, which, if you missed it, was pretty wild. It’s not one of those movies that plays it safe. Darby leaned into that offbeat storytelling—think existential dread, but with a sense of humor that sneaks up on you. The whole resurrection theme gets flipped on its head, and you’re left wondering what’s real and what’s just in someone’s head. He doesn’t spoon-feed you anything; you’ve gotta keep up. Jump to “On Swift Horses” (2024), and you can tell he’s not slowing down. The guy’s got range—one minute it’s surreal fantasy, the next it’s a slow-burn character drama with a vibe straight out of a dream. There’s this poetic thing going on, mixed with raw emotion that kind of knocks you off balance. If you’re looking for flashy blockbusters, look elsewhere. Darby’s work is for people who like their movies with a little meat on the bone, something that sticks with you long after the credits roll.