In the couple of years since The Bikeriders premiered, we’ve been wondering when Jeff Nichols would be up to next. Last year, news came he was embarking on the ambitious task of adapting Cormac McCarthy’s final novels The Passenger and Stella Maris, but now a project that looks to be coming first has been unveiled.
Margaret Qualley, Queer star Drew Starkey, and Nichols’ longtime collaborator Michael Shannon will star in the Southern gothic horror film King Snake, Deadline reports. Tri-State Pictures, with Nichols, Brian Kavanaugh-Jones and Sarah Green, will produce the film alongside Range Media Partners, while FilmNation is financing the film and launching sales out of the American Film Market.
The film follows a young couple, played by Qualley and Starkey, who inherit a farm in rural Arkansas and must conquer the demons, both physical and metaphysical, that haunt its legacy. Forces of good and evil collide in a terrifying film where real-world challenges crash headlong into otherworldly creatures and myths.
“Jeff is a singular filmmaker and King Snake will bewitch and enthrall audiences around the world with a startling new vision of the supernatural forces that hover just beyond our everyday perceptions,” said Basner.
Caleb Hammond said in his Telluride review of The Bikeriders, “Using photographer Danny Lyon’s iconic The Bikeriders’ imagery as a jumping-off point, Jeff Nichols’ latest feature imagines a fictionalized Chicago motorcycle club, the Vandals. Motorcycle club culture might be a distinctly American phenomenon, but Nichols casts two Brits in the lead, with varying returns: Jodie Comer as Kathy narrates the story in a clear Goodfellas conceit, adopting a Midwest accent flashy (and divisive) enough to ensure sustained awards-season chatter; Tom Hardy is Johnny, a truck driver who gets the idea to start a motorcycle club while watching Marlon Brando’s The Wild One. This low-stakes “why not?” starting point for founding the club works early in the film, until, following the Goodfellas trajectory, it all comes crashing down. Without Thelma Schoonmaker’s editing prowess, The Bikeriders’ rise-and-fall narrative ultimately plays too conventional.”
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