A24 and filmmaker Alex Scharfman are set to reimagine the world of unicorns with their latest genre release. In Death of a Unicorn, Jenna Ortega (Wednesday) and Paul Rudd (Avengers: Endgame) star as a daughter and father who unintentionally run over a baby unicorn on their way to a crucial meeting that could make or break their family’s business dealings with the father’s wealthy employer. This series of events leads to a discovery that could change the world, but only if it manages to escape the confines of a secluded mansion in the magical woods.

io9 recently spoke with Scharfman about the film’s origins, the decision to cast Ortega alongside some of the most talented comedic actors, and why satire in today’s world needs to incorporate fantastical elements to be effective.

Sabina Graves, io9: I have to admit, I’m not usually a fan of unicorns, but you’ve managed to convert me into a unicorn enthusiast. Thank you for that.

Alex Scharfman: That’s what Jenna said too. She wasn’t into unicorns initially, but I think we’ve added a layer of depth to the mythology that was previously unknown. I wasn’t into unicorns until I started researching the movie, but now I see them in a different light.

io9: I understand now. Unicorns can be surprisingly metal. Let’s start from the beginning. What inspired you to take on this project, given its wild and unconventional nature?

Scharfman: The idea just came to me, and the opening scene sort of materialized in my head. I’m not sure where it came from, but sometimes these things happen, and you’re left wondering where they’ll lead. I started pulling on that thread, asking myself, “What if someone hits a unicorn with their car?” and “What does a unicorn represent to us as a society?”

io9: When you imagined this scenario involving a daughter and her father, did you immediately think of Paul Rudd as the dad?

Scharfman: Not initially, no. At that point, I was focused on the scenario itself, without any specific actors or characters in mind. It took me a couple of years to start exploring the idea further.

io9: The film gives off a Kurt Vonnegut-esque vibe, reminiscent of his short stories that use fantastical elements to tell satirical tales.

Scharfman: I’m a huge fan of Kurt Vonnegut, and I’ve read all his short stories. However, I wasn’t actively thinking of his work when writing this. Although, he does have a story about a father and son in the Middle Ages that features unicorn hunting, which is quite interesting.

io9: That’s right, his unicorn hunting story. Given your love for satire, do you think there are essential elements to creating a satire film like this, especially in today’s world where reality often feels like satire?

Scharfman: When I started writing this in 2019, I was drawn to the idea of satire, and I think unicorn mythology lends itself well to commentary on class and social structures. The story naturally asks for that kind of commentary, and I believe that’s what makes it work.

In terms of the current context, I think horror satire allows for a fun opportunity to align metaphors. However, I also believe that there’s something intentionally unsubtle about the movie, which I think is fitting for our current times. We live in an era where the world’s wealthiest people have a significant amount of power, and it’s all out in the open. I wanted to create something that was direct and cathartic, and I think the unicorns represent a sense of violent restorative justice that feels appropriate for our current moment.

io9: That’s a great point, and it’s interesting to see how the film’s themes resonate with our current reality. The cast, including Will Poulter, delivers excellent performances, and his portrayal of a petulant tech bro is particularly noteworthy.

Scharfman: I completely agree, and I feel lucky to have Will in the movie. His performance is both funny and thought-provoking, and it speaks to a larger commentary on the kind of personality type that has been fostered in our society. The film takes inspiration from various creature features and class satires, such as Luis Buñuel’s The Exterminating Angel and Robert Altman’s Gosford Park.

I love ensemble movies where characters represent archetypes for social structures or larger themes. It was fun populating the film with these characters, and Jenna’s character serves as the audience’s surrogate, navigating this bizarre world and dealing with the eccentric Leopold family.

io9: The creature feature aspect of the film is also noteworthy. What inspired you to create the unicorns, and how did you want to frame them in the story?

Scharfman: I think in a contemporary creature feature, you need to satisfy the audience’s desire to see the creature. We didn’t want to shy away from showing the unicorns, and we used a combination of practical and CG elements to bring them to life. By the end of the movie, the unicorns are in broad daylight, and we give the audience a good, clean look at them.

io9: What did the actors have to act against during the suspenseful scenes, and how did you balance practical and CG elements?

Scharfman: We used a combination of live horses, puppets, and VFX to bring the unicorns to life. Whenever possible, we used practical elements, including puppet heads and full-body puppets. We also had puppeteers on set to help the actors understand the creatures’ movements and positioning.

Death of a Unicorn is set to release this Friday.

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