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Michael Mohan (born in Boston, Massachusetts) is an American director, best known for directing Immaculate He was nominated for a Daytime Emmy Award for Outstanding Directing For A Children's Series for Ghostwriter.
Michael Mohan is an American filmmaker based in Los Angeles. He is known for his films "Save the Date" (2012), "The Voyeurs" (2021) and "Immaculate" (2024), as well as the Netflix series "Everything Sucks" (2018).
Mar 21, 2024 · 'Immaculate' Director Michael Mohan Says Sydney Sweeney 'Doesn't Ever Want to Hold Back' (Exclusive) | A.frame. Mar 21, 2024. In Immaculate, Sydney Sweeney stars as Sister Cecilia, a young nun who is relocated to a centuries-old Italian convent only to find herself inexplicably with child.
Apr 16, 2024 · Director Michael Mohan acknowledges that religious horror is a huge part of the genre, with more than a few iconic entries. Adding his new film Immaculate to the pantheon means it must remain...
Mar 18, 2024 · From eighth billing to bankable leading lady, Immaculate director Michael Mohan has played a key role in Sydney Sweeney’s rise to superstar status.
Mar 19, 2024 · 'Immaculate' director Michael Mohan on the guilt Catholics all feel — and the childhood trauma — that inspired his Sydney Sweeney horror movie.
Mar 23, 2024 · “Immaculate” director Michael Mohan knows his movie’s ending will shock viewers — in fact, it was a key change he wanted to make from the original script.
Mohan made his feature debut with the low-budget 2010 dramedy, One Too Many Mornings, and directed the 2021 erotic thriller, The Voyeurs, which was released exclusively on Prime Video. His latest effort, the religious horror film Immaculate, is his first movie to get a nationwide theatrical release.
Mar 25, 2024 · Major spoilers ahead: "Immaculate" director Michael Mohan reveals how they pulled off the Neon horror movie's horrifying final take.
“ What Mohan has largely done here, though, is whip up a genre pastiche that shrewdly combines horror-movie frights, paranoid-woman thrills and the special kinky pleasures of 1970s-style nunsploitation. ” — Manohla Dargis, New York Times (Critics Pick)
