CANNES -- David Robert Mitchell's "The Myth Of The American Sleepover" was a low-key, low-fi charmer that came out of nowhere a few years ago. The title struck me as perhaps a wee bit on the ambitious side, but the film wasn't out to make grand generational statements. It was just a well-observed film about the sort of night that is important to teenagers precisely because of how loose and free and dangerous it feels, and it marked Mitchell as a guy who had something to say, and a very particular way of saying it.
"It Follows" is his second feature, and it feels very much like it is a companion piece to "Myth." It takes place in the same sorts of neighborhoods, on the same sorts of streets, and many of the scenes play out in that same sort of dreamy loose manner, the way many real conversations play out for teenagers. The difference is that Mitchell's got a very different goal in mind this time, as "It Follows" is an unabashed horror film. There's something really compelling about watching what feels like his first film suddenly erupt into a supernatural nightmare, and it feels like Mitchell's just as much of a soft spot for Carpenter's Haddonfield as he does for Linklater's Austin.