country: USA.
genre: Mystery.
release Date: 2020.
duration: 93 minutes.
liked it: 5028 Votes
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“An ant doesn’t know what a cathedral is. br>
I can see why this one has so many unimpressed reviews, it’s a pretty specialist piece. Basically, it plays like a love letter to Mark Z. Danielewski’s immortal genre-bending modern philosophical classic of semiotic arcana (now try saying *that* ten times quickly) novel/dossier, House Of Leaves.
That one’s pretty esoteric, and so is this film, in the same vein.
Few people know House Of Leaves – even among horror lit geeks, it’s distinctly obscure – and even fewer liked it. But those who like it, love* it.
This film is for them.
This is a mentally twisty, physically non-Euclidian nightmare about marriage, love, guilt and redemption. If it pings as anything, if you had to put a single label on it, you could probably call it a gothic horror – though very much a firmly *modern* interpretation.
The characters’ rich and morally complex internal lives are explored, the nuances and often struggles of romantic commitment are highlighted, and parental love is the absolute centrepiece around which the rest of the drama turns. Indeed, this horror is one which (much like the first 20 minutes of Stephanie) touches on the uniquely chilling nature of the specific fears exclusive to those viewers with children; the vulnerable babe innocently wandering into the woods, while those who would give their lives to protect them are shut out of any control, helpless to intervene in the terrible passion play to which they are forced to bear witness.
If for nothing else than that, this film will move some viewers to horror more deeply than others.
As for the acting, it’s good – the players deliver rich, complicated performances that are deeply satisfying if undeniably uncomfortable to watch, but then one expects such from veteran Bacon, and to waste words on repeating the litany of his talents would be gilding the lily, so I wo’t bother.
More refreshingly, even the anime-eyed and lissome Amanda Seyfried gets a chance in this flick to prove to objectifying viewers that she’s so much more than eye candy, as she throws down the mike with a portrayal of a loving mother and still-very-much-attracted young “trophy” wife at a personal crossroads between superego and id; between the fruit on the branch that’s tantalisingly within reach and all there is to lose in eating it.
The portrait she paints is vibrant with a certain emotional *fierceness* in the veracity of the love she feels for both her husband and daughter, belied with an unexpected fragility beneath the passion and bravado – some sort of brittle-bright intensity undercutting the romance of that commitment, and imbuing the character with some unmistakably sharp edges which any one of the countless less talented actresses of her particular early-00s-high-school-movies origin would struggle to reconcile in a way that made the character seem anything more than simply bipolar.
The moral convolution of this vivacious but damaged woman counterintuitively works to make her seem *more* sympathetic, rather than less so. She is challenging, and even reprehensible, but never entirely unlikable (though of course YMMV.
And little Avery Tiiu Essex, playing their *very* small daughter, packs a lot of dramatic punch for her early age; she is by turns meltingly tender, heartbreakingly innocent, breathtakingly perceptive (playing very much against the common adult trope that children are oblivious) and, on occasion, shrilly exuberant to the point of annoyance – in other words, an actual child, in all its sweet, demanding, messy glory, as opposed to the one-note performances so often seen from actors so young (after all, acting is a skill, like any other, and skills *do* generally take time to acquire.
This portrait, so naturalistic, puts your heart all the deeper and more firmly into your throat for the danger she finds herself besieged by.
Your can’t help but invest in her, and in the mutually-besotted (with her, at least) adults to whom she has become such a blessing.
This is not simply a horror movie – or rather, it is not *only* a horror movie; it is also a domestic drama, a paternal love story, an examination of the lies we tell ourselves to maintain our self-image, and a thesis, ultimately, upon forgiveness and sacrifice.
It’s *also* one Hell of a horror movie, for those into a very neglected niche. For most others, it will fly over their heads (no judgement in that assessment, by the way; no one thing is for everyone.
If you loved the Escher-room quest scene in Labyrinth, this will send your submarine positively skyward.
Expect cult status to follow.
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