<?xml version="1.0" encoding="utf-8" standalone="yes"?><rss version="2.0" xmlns:atom="http://www.w3.org/2005/Atom" xmlns:content="http://purl.org/rss/1.0/modules/content/"><channel><title>Guerrilla Tactics on The CineBlog</title><link>https://thecineblog.com/categories/guerrilla-tactics/</link><description>Recent content in Guerrilla Tactics on The CineBlog</description><generator>Hugo</generator><language>en-US</language><lastBuildDate>Sun, 30 Aug 2026 05:43:19 +0200</lastBuildDate><atom:link href="https://thecineblog.com/categories/guerrilla-tactics/index.xml" rel="self" type="application/rss+xml"/><item><title>Longlegs: Anatomy of a Modern Horror Masterclass</title><link>https://thecineblog.com/stories/longlegs/</link><pubDate>Thu, 12 Sep 2024 00:00:00 +0000</pubDate><guid>https://thecineblog.com/stories/longlegs/</guid><description>&lt;p&gt;&lt;em&gt;Bref&lt;/em&gt;, let us not waste time. We have all seen the numbers. A $22.6 million opening weekend for an independent horror film is not a fluke; it is an earthquake. But while the industry trades hyperventilate over the box office returns of &lt;em&gt;Longlegs&lt;/em&gt;, I am far more interested in what Osgood Perkins and his cinematographer, Andres Arochi, actually did on the floor.&lt;/p&gt;
&lt;p&gt;When you strip away the hype, what remains is an execution so deliberate, so suffocatingly controlled, that it warrants a true post-mortem. This is not a film that succeeded purely because of a flashy ad campaign. It succeeded because the mechanics of its production and the aesthetics of its framing were built to weaponize audience anxiety.&lt;/p&gt;</description></item></channel></rss>