In Faces of Death, the exploration of the original film’s infamous "is it real or not?" conceit continues as a woman working as a content moderator for a major video platform discovers what appears to be re-enactments of murders from the original film.
In an online world where nothing can be trusted, she must determine whether the violence is fiction or unfolding in real time.
Directed by Daniel Goldhaber (How to Blow Up a Pipeline) from a script by him and Isa Mazzei, Faces of Death stars Dacre Montgomery, Barbie Ferreira, Josie Totah, Aaron Holliday, with Jermaine Fowler, and Charli XCX.
The movie is twisted, violent, and features stellar turns from Montgomery (Stranger Things) and Ferreira (Euphoria) in their respective lead roles. Last week, we got to sit down with both actors to discuss what drew them to this new take on the controversial horror classic.
Montgomery, who plays twisted serial killer Arthur, also speaks in detail about how he approached such a dark role and the impact that getting into such an evil character's mindset had on him while shooting.
There are heaps of fascinating insights from them both, so check out our exclusive Faces of Death interview in the player below.
The original is such an infamous cult classic, both beloved and controversial. How exciting was it for both of you to step into this new version and expand on that premise with your characters?
Dacre Montgomery: I think it was really exciting because the pitch itself was bold—Isa and Danny going, “We want to remake this snuff film.” But what’s interesting is the lens of the reimagining. Some people online might say, 'This movie is nothing like the original,' but there’s actually a deeper message here. It’s not just about recreating the same shock value. This film taps into the socio-political zeitgeist of what’s happening right now—the attention economy, and the access we all have to violent, disturbing content online.
I think the ending, especially through Barbie’s character, lands that message really clearly. I love Danny as a filmmaker and always wanted to work with him, but what really drew me in was being part of a film that has something to say. I want to work on projects that go beyond just shock or formula. This film does that. And in a landscape full of sequels, prequels, and remakes, it’s so important to actually have a message. I think this one will resonate with a new generation.
Younger audiences will connect through social media and the constant exposure to disturbing content. And then you’ve got legacy fans who’ll appreciate the throwback elements—through my character’s obsession, the VHS elements, all of that. So yeah, I’m incredibly excited. It was amazing working with Barbie, Danny, Isa, and the whole cast. I can’t wait for people to see it.
And Barbie, I’m guessing you feel the same way?
Barbie Ferreira: Yeah, absolutely. I totally agree. People might expect a shot-for-shot remake, but honestly, if we did that today, it would probably feel tame. We’re exposed to real violence constantly now. You can be scrolling at school, at work, anywhere—and suddenly you see something extremely disturbing. That wasn’t the case when the original came out in the late ’70s.
Back then, it felt shocking and forbidden—like this cursed VHS that would scar you for life. But now, we’re desensitized. You can find incredibly graphic content online with ease. So what’s interesting about this film is that it asks: what happens when you live in a world where everything feels like “Faces of Death”? Where you’re constantly exposed to real death, violence, and trauma in between everyday content.
It also connects to film history—those shocking, transgressive films like *Cannibal Holocaust* or *Salò* were reactions to conservative eras in cinema. And now, it feels like we’re in another conservative period, where art becomes more provocative again in response. So it feels very relevant. We’re kind of mirroring that cycle, and it’s exciting to be part of something that explores that.
Dacre, your character goes into some really dark territory. Did getting into that headspace have an emotional or psychological impact on you while playing Arthur?
Dacre Montgomery: Definitely. This is the irony of being an actor—I get very insular and hyper-focused. I kind of shut everything else out, and by the end of it, I’ve almost lost my mind a bit. I become obsessive about the details. I’ll go home feeling anxious that I’ve missed something. On set, I’m constantly thinking about the character—what he owns, how he lives.
For example, I’d ask: Does he order everything online? Then we need piles of delivery boxes. Does he drink milk obsessively? Then we need a fridge full of it. What textures does he like? What objects surround him? I’d suggest things like red tape, contact lenses, specific clothing—it just kept building. And thankfully, Danny and the crew were incredibly supportive of that process.
That environment allowed me to keep evolving the character as we went. We didn’t shoot entirely in order, but mostly chronologically, which helped. The house we filmed in was a real location, not a set, so I could explore it fully. That made a huge difference. I could open a door and actually step outside into the environment, which helped ground everything.
It felt like this eerie suburban world—almost too perfect, but with something deeply unsettling underneath. We were even filming near a chemical plant, which added to that atmosphere. For me, especially coming from Australia, it felt like I was really immersed in this version of middle America—this isolated, disconnected character. Because of that immersion, it was actually quite difficult to shake the character afterwards.
Faces of Death arrives in theaters on April 10.