NEW YORK TIMES BESTSELLER
NAMED ONE OF THE BEST BOOKS OF THE YEAR BY
NPR • Cosmopolitan • Kirkus Reviews • BookPage
A page-turning thriller for readers of Stephen King, Gillian Flynn, and Stieg Larsson, Night Film tells the haunting story of a journalist who becomes obsessed with the mysterious death of a troubled prodigy—the daughter of an iconic, reclusive filmmaker.
On a damp October night, beautiful young Ashley Cordova is found dead in an abandoned warehouse in lower Manhattan. Though her death is ruled a suicide, veteran investigative journalist Scott McGrath suspects otherwise. As he probes the strange circumstances surrounding Ashley’s life and death, McGrath comes face-to-face with the legacy of her father: the legendary, reclusive cult-horror-film director Stanislas Cordova—a man who hasn’t been seen in public for more than thirty years.
For McGrath, another death connected to this seemingly cursed family dynasty seems more than just a coincidence. Though much has been written about Cordova’s dark and unsettling films, very little is known about the man himself.
Driven by revenge, curiosity, and a need for the truth, McGrath, with the aid of two strangers, is drawn deeper and deeper into Cordova’s eerie, hypnotic world.
The last time he got close to exposing the director, McGrath lost his marriage and his career. This time he might lose even more.
Night Film, the gorgeously written, spellbinding new novel by the dazzlingly inventive Marisha Pessl, will hold you in suspense until you turn the final page.
Praise for Night Film
“Night Film has been precision-engineered to be read at high velocity, and its energy would be the envy of any summer blockbuster. Your average writer of thrillers should lust for Pessl’s deft touch with character.”—Joe Hill, The New York Times Book Review
“Mysterious and even a little head-spinning, an amazing act of imagination.”—Dean Baquet, The New York Times Book Review
“Maniacally clever . . . Cordova is a monomaniacal genius who creeps into the darkest crevices of the human psyche. . . . As a study of a great mythmaker, Night Film is an absorbing act of myth-making itself. . . . Dastardly fun . . . The plot feels like an M. C. Escher nightmare about Edgar Allan Poe. . . . You’ll miss your subway stop, let dinner burn and start sleeping with the lights on.”—The Washington Post
“Haunting . . . a suspenseful, sprawling page-turner.”—USA Today
“Entrancing and delightful . . . [a] whipsmart humdinger of a thriller . . . It feels, above all things, new.”—The Boston Globe
“Gripping . . . a masterful puzzle . . . Pessl builds up real suspense.”—Entertainment Weekly
“A very deeply imagined book . . . sprints to an ending that’s equal parts nagging and haunting: What lingers, beyond all the page-turning, is a density of possible clues that leaves you leafing backward, scanning fictional blog comments and newspaper clippings, positive there’s some secret detail that will snap everything into focus.”—New York
“Hypnotic . . . The real and the imaginary, life and art, are dizzyingly distorted not only in a Cordova night film . . . but in Pessl’s own Night Film as well.”—Vanity Fair
|Publisher:||Random House Publishing Group|
|Product dimensions:||5.60(w) x 8.20(h) x 1.20(d)|
About the Author
Marisha Pessl’s bestselling debut novel, Special Topics in Calamity Physics, won the John Sargent Sr. First Novel Prize (now the Center for Fiction’s Flaherty-Dunnan First Novel Prize), and was selected as one of the 10 Best Books of the Year by The New York Times Book Review. Pessl grew up in Asheville, North Carolina, and currently resides in New York City.
Read an Excerpt
New York City
Everyone has a Cordova story, whether they like it or not.
Maybe your next-door neighbor found one of his movies in an old box in her attic and never entered a dark room alone again. Or, your boyfriend bragged he’d discovered a contraband copy of At Night All Birds Are Black on the Internet and after watching, refused to speak of it, as if it were a horrific ordeal he’d barely survived.
Whatever your opinion of Cordova, however obsessed with his work or indifferent—-he’s there to react against. He’s a crevice, a black hole, an unspecified danger, a relentless outbreak of the unknown in our overexposed world. He’s underground, looming unseen in the corners of the dark. He’s down under the railway bridge in the river with all the missing evidence, and the answers that will never see the light of day.
He’s a myth, a monster, and a mortal man.
And yet, I can’t help but believe when you need him the most, Cordova has a way of heading straight toward you, like a mysterious guest you notice across the room at a crowded party. In the blink of an eye, he’s right beside you by the fruit punch, staring back at you when you turn and casually ask the time.
My Cordova tale began for the second time on a rainy, mid-October night, when I was just another man running in circles, going nowhere as fast as I could. I was jogging around Central Park’s Reservoir after two A.Ma risky habit I’d adopted during the past year when I was too strung out to sleep, hounded by an inertia I couldn’t explain, except for the vague understanding that the best part of my life was behind me, and that sense of possibility I’d once had so innately as a young man, was now gone.
It was cold and I was soaked. The gravel track was rutted with puddles, the black waters of the Reservoir cloaked in mist. It clogged the reeds along the bank and erased the outskirts of the Park as if it were nothing but paper, the edges torn away. All I could see of the grand buildings along Fifth Avenue were a few gold lights burning through the gloom, reflecting on the water’s edge like dull coins tossed in. Every time I sprinted past one of the iron lampposts, my shadow surged past me, quickly grew faint, and then peeled offas if it didn’t have the nerve to stay.
I was bypassing the south gatehouse, starting my sixth lap, when I glanced over my shoulder and saw someone was behind me.
A woman was standing in front of a lamppost, her face in shadow, her red coat catching the light behind her, making a vivid red slice in the night.
A young woman out here alone? Was she crazy?
I turned back, faintly irritated by the girl’s naivetéor recklessness, whatever it was that brought her out here. Women of Manhattan, magnificent as they were, they forgot sometimes they weren’t immortal. They could throw themselves like confetti into a fun-filled Friday night, with no thought as to what crack they fell into by Saturday.
The track straightened north, rain needling my face, the branches hanging low, forming a crude tunnel overhead. I veered past rows of benches and the curved bridge, mud splattering my shins.
The woman—-whoever she was—-appeared to have disappeared.
But thenfar ahead, a flicker of red. It vanished as soon as I saw it, then seconds later, I could make out a thin dark silhouette walking slowly in front of me along the iron railing. She was wearing black boots, her dark hair hanging halfway down her back. I picked up my pace, deciding to pass her exactly when she was beside a lamppost so I could take a closer look and make sure she was all right.
As I neared, however, I had the marked feeling she wasn’t.
It was the sound of her footsteps, too heavy for such a slight person, the way she walked so stiffly, as if waiting for me. I suddenly had the feeling that as I passed she’d turn and I’d see her face was not young as I’d assumed, but old. The ravaged face of an old woman would stare back at me with hollowed eyes, a mouth like an axe gash in a tree.
She was just a few feet ahead now.
She was going to reach out, seize my arm, and her grip would be strong as a man’s, ice cold—-
I ran past, but her head was lowered, hidden by her hair. When I turned again, she’d already stepped beyond the light and was little more than a faceless form cut out of the dark, her shoulders outlined in red.
I took off, taking a shortcut as the path twisted through the dense shrubbery, branches whipping my arms. I’ll stop and say something when I pass her again-—tell her to go home.
But I logged another lap and there was no sign of her. I checked the hill leading down to the bridle paths.
Within minutes, I was approaching the north gatehouse—-a stone building beyond the reach of the lamps, soaked in darkness. I couldn’t make out much more than a flight of narrow stairs leading up to a rusted set of double doors, which were chained and locked, a sign posted beside them: KEEP OUT PROPERTY OF THE CITY OF NEW YORK.
As I neared, I realized in alarm, glancing up, that she was there, standing on the landing, staring down at me. Or was she looking through me?
By the time her presence fully registered I’d already run blindly on. Yet, what I’d glimpsed in that split-second drifted in front of my eyes as if someone had taken a flash picture: tangled hair, that blood red coat decayed brown in the dark, a face so entirely in shadow it seemed possible it wasn’t even there.
Clearly I should’ve held off on that fourth scotch.
There was a time not too long ago when it took a little more to rattle me. Scott McGrath, a journalist who’d go to hell just to get Lucifer on the record, some blogger had once written. I’d taken it as a compliment. Prison inmates who’d tattooed their faces with shoe polish and their own piss, armed teenagers from Vigário Geral strung out on pedra, Medellin heavies who vacationed yearly at Ricker’snone of it made me flinch. It was all just part of the scenery.
Now, a woman in the dark was unnerving me.
She had to be drunk. Or she’d popped too many Xanax. Or maybe this was some sick teenage darean Upper East Side mean girl had put her up to this. Unless it was all a calculated setup and her street-rat boyfriend was somewhere here, waiting to jump me.
If that were the idea they’d be disappointed. I had no valuables on me except my keys, a switchblade, and my MetroCard, worth about eight bucks.
Alright, maybe I was going through a rough patch, dry spellwhatever the hell you wanted to call it. Maybe I hadn’t defended myself sincewell, technically the late nineties. But you never forgot how to fight for your life. And it was never too late to remember, unless you were dead.
The night felt unnaturally silent, still. That mistit had moved beyond the water into the trees, overtaken the track like a sickness, an exhaust off something in the air here, something malignant.
Another minute and I was approaching the north gatehouse. I shot past it, expecting to see her on the landing.
It was deserted. There was no sign of her anywhere.
Yet, the longer I ran, the path unspooling like an underpass to some dark new dimension in front of me, the more I found the encounter unfinished, a song that had cut out on an expectant note, a film projector sputtering to a halt seconds before a pivotal chase scene, the screen going white. I couldn’t shake the powerful feeling that she was very much here, hiding somewhere, watching me.
I swore I caught a whiff of perfume embroidered into the damp smells of mud and rain. I squinted into the shadows along the hill, expecting, at any moment, the bright red cut of her coat. Maybe she’d be sitting on a bench or standing on the bridge. Had she come here to harm herself? What if she climbed up onto the railing, waiting, staring at me with a face drained of hope before stepping off, falling to the road far below like a bag of stones?
Maybe I’d had a fifth scotch without realizing. Or this damned city had finally gotten to me. I took off down the steps, heading down East Drive and out onto Fifth Avenue, rounding the corner onto East Eighty-sixth Street, the rain turning into a downpour. I jogged three blocks, past the shuttered restaurants, bright lobbies with a couple of bored doormen staring out.
At the Lexington entrance to the subway, I heard the rumble of an approaching train. So I sprinted down the next flight, swiping my MetroCard through the turnstiles. A few people were waiting on the platform—-a couple of teenagers, an elderly woman with a Bloomingdale’s bag.
The train careened into the station, screeching to a halt and I stepped into an empty car.
“This is a Brooklyn-bound four train. The next stop is Fifty-ninth Street.”
Shaking off the rain, I stared out at the deserted benches, an ad for a sci-fi action movie covered in graffiti. Someone had blinded the sprinting man on the poster, scribbling out his eyes with black marker.
The doors pounded closed. With a moan of brakes, the train began to pull away.
And then, suddenly, I was aware, coming slowly down the steps in the far corner—-shiny black boots and red, a red coat. I realized, as she stepped lower and lower, soaked black hair like ink seeping over her shoulders, that it was she, the girl from the Reservoir, the ghostwhatever the hell she was. But before I could comprehend this impossibility, before my mind could shout, She was coming for me, the train whipped into the tunnel, the windows went black, and I was left staring only at myself.
Reading Group Guide
1. Professor Wolfgang Beckman accuses Scott of having “no respect for the murk. For the blackly unexplained. The un-nail downable.” How does Scott’s perspective on mystery and the “blackly unexplained” change over the course of the novel?
2. Nora asks Scott, “How much evidence do you need before you wonder if it just might be real?” Do you think Scott’s skepticism is a mark of pride, as well as rationality, as Nora suggests? Why does he wish to believe in the curse after his conversation with Inez Gallo? How ready were you to believe in the curse?
3. Scott is relentless in his pursuit of the truth about Cordova. How far would you have gone, in his situation? Is there a point at which you would have stopped pursuing the truth?
4. Cordova’s films were filled with such horror and violence that, in many cases, they were banned from theaters. What is your perspective on violence—its role and its effects—in movies today?
5. Cordova’s philosophy is in many ways antithetical to our modern world, where transparency, over-sharing and social media are the norm. Did you feel drawn to Cordova’s philosophy, or repelled, or both? Why?
6. Discuss how Scott advertently or inadvertently involved his daughter Samantha in his investigation. What did you think of the role she wound up playing, in his discovery?
7. How does your perception of Scott change, from the beginning to the end of the novel?
8. What did you think of the evolution of Nora and Scott’s relationship?
9. Both Scott and Nora reflect on the power of memory and story to alter the way we relate to our experiences. Scott says: “It was never the act itself but our own understanding of it that defeated us, over and over again.” Nora says: “The bad things that happen to you don’t have to mean anything at all.” Do you agree?
10. Beckman says “Every one of us has our box, a dark chamber stowing the thing that lanced our heart.” Consider Nora, Hopper, Ashley, Cordova, and Scott. What do their boxes contain, and in what ways do these secrets motivate them? Imprison them?
11. What do you think helped Hopper come to peace with Ashley’s memory?
12. New York City is just as much a character in the novel as any one person. How does your personal experience of, or relationship with, the city affect your reading?
13. How did the visual elements throughout the book enhance or impact your reading experience?