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Reviews
The Hole in the Ground (2019)
The enemy inside
"The Hole in the Ground" delves deeper than a typical horror film, exploring themes of motherhood, identity, and their negations. As Sarah, a mother in distress, confronts the terrifying truth lurking beneath the surface, she also grapples with the thin line between discovery and madness. While the film may tread familiar ground in terms of genre conventions, Cronin injects enough originality and depth to make it a standout entry in the horror genre. Through its atmospheric cinematography, strong performances, and thought-provoking themes, "The Hole in the Ground" offers a gripping and unsettling journey into the dark recesses of the human psyche.
Enemy (2013)
A Louis Bourgeois skyscraper-sized spider wanders in an oneiric scene
Denis Villeneuve read Saramago's "The Double" and contemplated making a film about men in mid-crisis, when they behave suddenly just like someone different. The plot follows the book closely. It begins with the quote: "Chaos is an order to decipher." It is easy to find passages in the book that inform the film: "The more you disguise yourself, the more you will resemble yourself." "Enemies are not born from our desire to have them but from their irresistible desire to have us." "We all walk around. More or less, we are all public figures; what differs is the number of spectators." "We so desperately need to blame something far away when we lack the courage to face what is right in front of us."
The sepia-toned palette and haunting score create a distinct ambiance, casting the film into an otherworldly and disconcerting realm. Villeneuve's choice to transform Toronto's urban landscape into an ominous dreamscape mirrors the psychological disarray of the characters. Adding an ominous touch, Villeneuve fulfills this vision with eyes-wide-shut tarantulas.
Villeneuve's decisions are undeniably impactful, creating a unique cinematic experience. However, the depth of these choices is nothing more than shallow, prompting doubts about the director's creative decisions and their effectiveness in conveying the story's essence.
February (2015)
"Devil, Without You I'm Only a Poor God"
Directed by Oz Perkins, "The Blackcoat's Daughter" stands as a testament to atmospheric horror, deliberately avoiding the trappings of common tropes and clichés pervasive in the genre. Perkins crafts a deliberate pace and employs a restrained visual style to construct an eerie atmosphere that saturates every frame. The desolate, snow-covered setting further enhances the isolation, providing an unsettling backdrop for the unfolding events.
The film's title, "The Blackcoat's Daughter," takes on a symbolic weight as the narrative delves into profound themes of sin, guilt, and the sinister forces that clandestinely operate beneath the surface. Alternatively titled "February (source broken)," this moniker serves as a subtle clue, emphasizing that the film is a psychological puzzle inviting viewers to piece together cryptic elements. The reward lies in the satisfaction of those who appreciate ambiguity and open-ended conclusions.
The non-linear storytelling may prove disorienting for some, demanding patience and an appreciation for atmospheric horror. The deliberate ambiguity, while leaving certain questions unanswered, adds to the film's enigmatic allure.
What truly distinguishes "The Blackcoat's Daughter" is its audacious twist. Departing from the familiar narrative of victimhood, the film unveils a protagonist who willingly embraces the forces of darkness. Rejecting the conventional portrayal of the possessed as helpless victims, the narrative takes an unexpected turn as the central character's allegiance to the devil is revealed.
It Comes at Night (2017)
Wolf's Hour
At the Wolf's Hour, the line between reality and nightmare blurs. Trey Edward Shults adeptly harnesses the claustrophobic atmosphere of the house and the surrounding woods to establish a persistent sense of threat. Joel Edgerton's leading performances are compelling, effectively conveying the distress of survival in a deteriorating world.
The film's standout quality lies in its ability to sustain suspense without relying on conventional horror tropes. Instead of providing explicit answers regarding the external threat, the narrative delves into the psychology of survival. It prioritizes a nuanced exploration of the apocalypse over a detailed explanation, underscoring the film's focus on the psychological aspects of survival. In doing so, 'It Comes at Night' emphasizes the notion that we confront reality, not necessarily truth.
La bataille de Solférino (2013)
Between precipices
The real name is "The Battle of Solferino," and this detail is significant as it refers to a bloody battle during Napoleon III's time, which led to the establishment of the Red Cross. In the film, we witness a very interesting exploration of symbolic themes, all centered around the challenges of divorce.
In Latin, the word 'divorce' initially denoted the division of lands caused by waters. Later, it acquired its meaning in conjugal life. There existed a religious marriage that was indivisible: "Conferreatio". However, this was less common than civil marriage, which could easily be dissolved. The "Univira" (one marriage) woman was revered, but divorced women didn't face chastisement in ancient Rome.
Now, the essence of the movie is subtle. Our lives are constantly on a thin line, between different poles in politics, peace or civil unrest, and between a father who can or cannot see his daughters. Appointments fail, discussions escalate into arguments. In the end, cinema is less about the purity of experiments but about the insistence on conducting them. And this movie manages to do exactly that, simultaneously entering the public arena of political masses and the intimate life of a mother preoccupied by her violent ex.
'Age of Panic' is genuinely stressful to watch, with many baby cries and deep tensions. At the same time, it delivers a superb performance by Leticia in a great part as herself, as she already demonstrated in the previous short film, 'Two Birds.' The minimal use of Bach's well-known and much-used Prelude in C minor is also effective.
Knock Knock (2015)
Death Game (1977) remake
The movie does not explore themes of temptation, infidelity, and consequences because the plot possesses no genuine psychological foundation. In other words, the two young women in the movie are portrayed more as extreme manmade caricatures rather than fully developed characters with authentic and sustained motivations.
Even without knowing 'Death Game 1977,' the film from which it departs, the plot is, to some extent, predictable. Yet, it grows too quickly into implausible scenarios. That said, it is true that Ana de Armas is gorgeous, and Keanu Reeves is somehow funny. However, the aftertaste is quite unpleasant.
Eli Roth misses the opportunity to give us something to contemplate and also the chance to incorporate a well-crafted musical score.