The attention-grabbing opening scene in writer/director Benjamin Finkel’s Family effectively establishes the film’s peculiar, esoteric, yet bone-chilling tone. Evoking Relic or Ari Aster’s Hereditary, the cold open sees preteen protagonist Johanna (Cameron Dawson Gray) banging on the locked doors of a synagogue, pleading to be let in, only for her mother, Naomi (Ruth Wilson), to stalk across the lawn, drag her out into it, then stab her. Without any explanation or context, Family cuts to a less volatile time, unfurling a strange, unwieldy slice of arthouse horror that’s heightened by Finkel’s knack for viscerally disturbing horror and imagery.
The eleven-year-old Johanna, an only child homeschooled by her mom, has recently been uprooted to mom’s creaky old childhood home for closer access to medical care for her father, Harry (Ben Chaplin), who’s slowly deteriorating from cancer. Things are stable enough to start, but...
The eleven-year-old Johanna, an only child homeschooled by her mom, has recently been uprooted to mom’s creaky old childhood home for closer access to medical care for her father, Harry (Ben Chaplin), who’s slowly deteriorating from cancer. Things are stable enough to start, but...
- 3/10/2024
- by Meagan Navarro
- bloody-disgusting.com
Over the course of six decades (1910-1970), tens of thousands of Australian Aboriginal children were forcibly removed from their homes due to the assimilation policies that were in place at the time. These policies claimed that the lives of First Nations people would be improved if they became part of white society, and an effort to breed out color from the Aboriginal population was carried out. Unsurprisingly, the lives of the removed children were not improved, with studies showing that many of them developed adverse reactions to their removal like mental health issues, drug and alcohol abuse, among others. These children became known as The Stolen Generation, and their experiences left a black mark in Australia’s history.
Writer/director Jon Bell, adapting his award-winning 2021 short film of the same name, taps into this unsavory event with The Moogai, yet another monster-as-a-metaphor horror drama that mostly succeeds when it acts as a drama,...
Writer/director Jon Bell, adapting his award-winning 2021 short film of the same name, taps into this unsavory event with The Moogai, yet another monster-as-a-metaphor horror drama that mostly succeeds when it acts as a drama,...
- 1/26/2024
- by Trace Thurman
- bloody-disgusting.com
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