Jeffrey Penman

Jeffrey Penman’s filmography is a wild little cocktail, honestly. You’ve got Midsommar (2019), which is basically a sun-drenched, floral fever dream where everything looks pretty but you kinda want to run screaming the whole time. The guy’s got a knack for unsettling you just when you think you’ve settled in with the characters. Midsommar’s like, “Hey, let’s go to Sweden for a festival!” and then—bam—rituals, grief, relationships on the rocks, and that underlying dread you can’t quite shake. Not exactly your standard summer getaway, right? Then there’s Nickel Boys (2024). This one’s a punch to the gut. It dives into the horrors of a reform school in the American South, based on real grim history, and it doesn’t sugarcoat anything. You follow these boys, their friendship, their struggle just to survive, and it leaves you wondering how people can be so cruel but also so resilient. Penman isn’t afraid to get his hands dirty with the tough stuff. Seriously, it’s not a feel-good flick, but it sticks with you long after the credits. And The Lighthouse (2019)—what a trip. Black-and-white, claustrophobic, two dudes slowly losing their minds on a rock somewhere in the middle of nowhere. It’s weird, it’s tense, and it’s got that classic descent-into-madness energy. Penman brings this stormy, haunting vibe that makes you question what’s real and what’s just in their heads. All in all, he’s not messing around. If you want something light and fluffy, go elsewhere. But if you want movies that mess with your brain and maybe haunt your dreams a little, this is your guy.