Tag Archives: horror

Cinema, horror, Reviews

CINEMA REVIEW: LONGLEGS (2024)

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CINEMA REVIEW: LONGLEGS (2024)

Directed by Osgood Perkins

Written by Osgood Perkins

Produced by Dan Kagan, Brian Kavanaugh-Jones, Nicolas Cage, Dave Caplan, Chris Ferguson etc.

Main Cast: Maika Monroe, Blair Underwood, Alicia Witt, Nicolas Cage, etc.

Cinematography by Andrés Arochi

*** THIS REVIEW CONTAINS SPOILERS ***

As a no-budget filmmaker I have often written and produced scripts which arguably had plots and concepts that were under-served by the lack of funds. The low budget meant one’s production values suffered on screen and did not allow the requisite number of shoot days to do the finished script justice. I felt similar vibes watching Longlegs (2024), as filmmaker Osgood Perkins attempts a FBI procedural thriller on less-than-$10 million dollars. The sparseness of the production and minimal cast kind of works in its’ favour, as Perkins goes for an ultra-violent-Twin-Peaks-meets-economy-Fincher vibe, ultimately ending up with a incredibly strange brew indeed.

Maika Monroe is FBI agent, Lee Harker, investigating a series of inexplicable murder-suicides during the 1990’s. In terms of structure the breadcrumb plotting is not the films’ strength but it does allow the director to hang a whole load of janky peculiarities on the screen. Harker’s keen empathy and apparent sixth-sense bring her ever closer to a suspect who goes by the name of ‘Longlegs’. Yet, the killer is not related to a spider, but rather reminded me of Noel Fielding meets the monster from parodic film-within-a-TV-show, Doctor and the Pencil. Surprisingly, and you will not believe this, the weirdo killer, Longlegs, is portrayed weirdly by Nicolas Cage, who revels in the wig and prosthetics and is, did I say already, the height of weirdness.

Osgood Perkins directed one of the dullest horror films I have ever seen in the experimental, I Am the Pretty Thing That Lives in the House (2016). But Longlegs (2024) is a massive improvement with some chilling and suspenseful scenes, and a decent lead performance from Agent Starling-alike, Maika Monroe. Similar to Carol Morley’s Out of Blue (2018), this is an arthouse director taking on genre filmmaking without enough cash and getting it deliberately wrong. Overall, with a very strong first half, Longlegs (2024), latterly takes some insane plot turns involving Faustian pacts, parental abuse, religious mania, hypnosis and voodoo sci-fi concepts which don’t really meld but remain thematically fascinating. Cage portraying Noel Fielding as an oddball killer, as well as many fantastic on-screen deaths, definitely give this cult cinematic stew strong and curious limbs.

Mark: 7.5 out of 11

Cinema, horror, Netflix

NETFLIX REVIEWS: HORROR!

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NETFLIX REVIEWS: HORROR!

As regular readers of my blog will know I am a massive fan of horror films. So much so I will often theme my monthly viewing around the genre, then consolidate the reviews in one post. Here are two of the most recent posts:

HORROR OBSCURA FILM REVIEWS – HALLOWEEN 2021 SPECIAL!
13 HORROR FILMS FOR CHRISTMAS – Some alternative festive reviews!

For the month of June and bleeding into July, I solely focused on horror films streaming on Netflix. So, here are short reviews of the many films I watched that are currently available on Netflix!

*** CONTAINS PLOT SPOILERS ***

A CLASSIC HORROR STORY (2021)

Italian shocker that echoes Midsommar (2019), Scream 3 (2000) and The Ritual (2017). The script is meta-clever and there’s some decent gore, but overall it lacks emotional empathy for the characters. More of a knowing film satire rather than being proper scary. Mark: 6.5 out of 11

BAGHEAD (2023)

Suffers in comparison to the far more energetic and thrilling Talk to Me (2022) – which is also on Netflix. Aside from the opening with the always brilliant Peter Mullan, who sets the scene, monster and horror rules, the film contains slight characterization and low stakes when the lead protagonists enter the shadowed fray. Mark: 5.5 out of 11

BLOODY NEW YEAR (1987)

Genuinely one of the worst horror films EVER made, that somehow still has some memorably crazy moments and monsters. Watch and cry with laughter about how bad this Brit-shocker is though! Mark: 2 out of 11

CAM (2018)

Madeline Brewer is fantastic as the narcissistic Cam-Girl who finds her identity is cloned, with the added stress of a killer being on her trail. Cleverly and wittily plotted, this brilliantly directed satire rises above its exploitative material to deliver a thematically rich horror film full of suspense and shocks. Mark: 8.5 out of 11

CREEP 2 (2017)

Mark Duplass gives another strikingly weird performance as the serial killer who loves the slow-burn taunting of his victims. Both this and Creep (2015) actually make the found footage filming trope work really well. Mark: 7.5 out of 11

EMELIE (2016)

What if your babysitter isn’t the person you think they are? An incredibly chilling character study designed to give every parent sleepless nights. With a committed performance from Sarah Bolger, this has so many twisted scenes involving the kids that disturbed me and feared for their safety. A horror film that really burrows under your skin throughout. Mark: 7.5 out of 11.

FANTASY ISLAND (2020)

Taking a 1970’s high-concept drama series and turning it into a horror film is not the worst idea, especially as the original series had its darker episodes often involving cautionary tales of morality. However, the script they delivered for this misfire feels as though many, many writers have tried desperately to resuscitate it from within the cold morgue draw. There’s some drive and energy from the cast and I actually enjoyed some of the set-pieces, but it feels ultimately like over-stuffed mush. Mark: 5 out of 11.

HAUNT (2019)

An incredibly generic set-up finds a group of teenagers drawn to a haunted house at Halloween, only for crazed killers to lock them in a slash them down. Benefits from some imaginative villains and kills, plus an empathetic lead characterization by Katie Stevens as the grieving Harper. Lastly, directors Scott Beck and Bryan Woods show excellent control over tone, style and suspense. Mark: 7.5 out of 11.

RED STATE (2011)

Kevin Smith goes ‘Grindhouse’ with this gnarly horror film where a group of horny teenagers are lured into a deadly trap that threatens their existence. Starts strongly exploring themes of religious mania and family values culminating in an incredible monologue delivered by Michael Park’s charismatic church leader. Latterly descends into a chaotic siege thriller shoot-em-up with crazy cultists versus the American authorities led by the always excellent, John Goodman. Smith’s trademark chitty-chatter dialogue is good, but kind of gets in the way (monologue aside) of the drama and humanity-as-horror of the piece. Mark: 7 out of 11.

THERE’S SOMEONE IN YOUR HOUSE (2021)

Extremely well written, directed and acted film which gets stuck between the rites-of-passage and slasher tropes, serving neither of these genres satisfactorily. There’s some alright kills, but overall feels like an inferior photocopy of Scream (2000) with little of the wit or meta-brilliance. Mark: 6 out of 11.

TIN & TINA (2023)

Featuring motifs relating to religion, fascism and family values, this interesting chiller ticks all the themes present in many Spanish horror films. As Lola (Milena Smit) and Adolfo (Jaime Lorente) suffer the tragedy of a lost child, they try to redeem their grief with the adoption of two blonde, shock-haired orphans raised by nuns. Driven by their naivete and religious fervour, Tin and Tina end up committing many questionable acts which threaten to send Lola over the edge. Beautifully filmed and scored, the director also builds an impressive sense of dread throughout, yet the film is ultimately denied a higher mark by the glacial pace and disappointing ending. Nonetheless, it is thought provoking with both the creepy kids and Christianity contributing to nail-biting scenes of high anxiety. Mark: 7 out of 11

Film Festivals, Short films

FIX FILMS PRESENTS: SIN – EPISODES 4 – 7

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SIN – EPISODES 4

Last year I wrote and produced seven monologues inspired by the deadly sins. With careful planning, myself and a quality cast and crew shot them all in one day at Raindance Film School. I’m now releasing them online via YouTube. They are in essence a proof of concept project with an aim for myself to develop them into a feature film screenplay. Below are episodes 4 to 7!

PITCH

“Let those without sin cast the first stone.”

An anthology of 7 monologues based around the seven deadly sins. Moments, drama, humour, character studies and themes exploring the darker side of human nature. Influenced by: Alan Bennett’s Talking Heads, Inside No. 9, Tales of the Unexpected and Amicus/Hammer horror film anthologies.

PRIDE starring Myles Horgan

Bishop, a retired spy with a gun in his face, delivers a powerful monologue as he attempts to deduce the identity of the assassin that faces him.

LUST starring Tom Cavendish

Danny, a police officer racked with guilt, confesses as to why he thinks he cheated on his beloved fiancé with her sister.

ENVY starring Malcolm Jeffries

Len, a covert photographer, reveals how his obsession with a client’s wife brings back haunting memories from his past.

WRATH starring Julia Florimo

Sadie describes in detail how and why she plotted revenge by poisoning her cheating ex-boyfriend, Stephen.

CREDITS

Writer and Producer: Paul Laight
Camera and Post-Production: Gary O’Brien
Sound: Ali Kivanc
Camera Assistant: Maka Natsvlishvili
Music by: Epic Violin Music NO Copyright royalty free music  
Special thanks: Raindance Film School and Universal Video

Articles, Raindance, Short films, YouTube Video Articles

FIX FILMS PRESENTS: SIN – EPISODES 1 – 3

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SIN – EPISODES 1 – 3

Last year I wrote and produced seven monologues inspired by the deadly sins. With careful planning, myself and a quality cast and crew shot them all in one day at Raindance Film School. I’m now releasing them online via YouTube. They are in essence a proof of concept project with an aim for myself to develop them into a feature film screenplay. Below are episodes 1 to 3, with episodes 4 to 7 to come soon.

PITCH

“Let those without sin cast the first stone.”

An anthology of 7 monologues based around the seven deadly sins. Moments, drama, humour, character studies and themes exploring the darker side of human nature. Influenced by: Alan Bennett’s Talking Heads, Inside No. 9, Tales of the Unexpected and Amicus/Hammer horror film anthologies.

SLOTH starring Paul Laight

Sloth, features Kevin, a Spurs fan, recounting how he took revenge on one of the laziest people he has ever met.

GREED starring Sydney Curtis

This moving monologue features, Gary, at an AA meeting, sharing how he believes greed has contributed to a close friend’s death.

GLUTTONY starring Antigone Duchesne

Kate Briggs serves up a monologue, via a video will, enacting a grudge-driven, but sweet revenge against her gluttonous pig of a brother.

CREDITS

Writer and Producer: Paul Laight
Camera and Post-Production: Gary O’Brien
Sound: Ali Kivanc
Camera Assistant: Maka Natsvlishvili
Music by: Epic Violin Music NO Copyright royalty free music  
Special thanks: Raindance Film School and Universal Video

© 2024 Fix Films Ltd

Articles, Cinema, New Releases, Reviews

CINEMA REVIEW: FURIOSA – A MAD MAX SAGA (2024)

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CINEMA REVIEW: FURIOSA – A MAD MAX SAGA (2024)

Directed by George Miller

Written by George Miller & Nico Lathouris

Based on characters by George Miller & Byron Kennedy

Produced by: Doug Mitchell & George Miller

Main Cast: Anya Taylor-Joy, Chris Hemsworth, Tom Burke, Alyla Browne, Lachy Hulme, Angus Sampson, etc.

Cinematography by Simon Duggan

*** CONTAINS SPOILERS ***

George Miller’s fifth entry of the Mad Max series is Furiosa: A Mad Max Saga (2024). Given the meaning of the word ‘saga’ is defined as, “a long story of heroic achievement, especially a medieval prose narrative in Old Norse,” it’s an attempt by Miller to connect the Mad Max films to mythical storytelling and folk lore, yet paradoxically set such ye olde yarns in the future. Conversely, while being part of the post-apocalyptic sci-fi sub-genre, there is certainly more than a suggestion of marauding and pillaging Vikings within the freakish characters of the radioactive Aussie wasteland.

Of course, the hi-tech and vehicular monsters smashing up and down the ‘Fury Road’ render the action far from the medieval, replacing long boats for super-charged two, three and four-and-more-wheel souped-up demons driven by mutated future humans. The gigantic rock, bullet, fuel, and scrap metal designed bases of ‘The Citadel,’ ‘Bullet Farm’ and ‘Gas Town’ inhabited by these tattooed ravagers, while rough in exterior represent humanity’s industrial survival and base-building instincts par excellence. So much for the imperious nature of Miller’s world-building, what of the narrative?

If one is honest, the screenplays for all four of the previous Mad Max films are the exercises in economy, with hard-cut structures, granite-boiled dialogue often spat out via twisted one-liners, and poetically yelled slang-speak. Introduced as a maverick cop, but loving family man in Mad Max (1979), Max Rockatansky (Mel Gibson) is essentially a cops-versus-gangs-meets-revenge exploitation thriller. By the time gangs have killed his family and nuclear war has destroyed the world, Max has become the Road Warrior (1981), in what is one of the greatest action films and sequels of all time. However well regarded the mayhem of Fury Road (2015), and it is incredible, The Road Warrior remains one of my favourite films ever.

Beyond Thunderdome (1985) was the slicker third film, and while the action was terrific, there was too much money and sheen in there, reminiscent of what they did with the glamoured cast in the last season of Game of Thrones. Plus, the script was broken in half, with an amazing first section set in Bartertown with Tina and crew, before giving way to a more philosophical, but less exciting kids-in-a-commune driven story. In comparison Furiosa: A Mad Max Saga (2024) is certainly the most ambitious of all the narratives. It is set over several years, from the moment Furiosa (Alya Browne) witnesses her mother killed by Dementus (Chris Hemsworth) and his nasty marauders, to her rites of passage ascent toward gaining a vicious revenge.

Keeping the literary theme, the film is set over five chapters replete with headings to let the audience know what is about to occur. Easily the most impressive is – Chapter III – The Stowaway – where Furiosa comes of age in action during a brutal and mind-blowing action set-piece as the Octoboss, goes rogue and launches an air assault on the “War Rig” as it races along the ‘Fury Road.’ Here Furiosa also bonds with Praetorian Jack (Tom Burke) and the two become partners, with George Miller throwing in an under-cooked romance amidst the petrol, dust, blood and fire.

It is great that Miller and his co-writer Nico Lathouris have strived for more emotional depth and epic storytelling within Furiosa: A Mad Max Saga (2024). However, I felt that at times the rapid pacing and ramped-up action crushed any feelings I may have had about the characters of Furiosa and Jack. Plus, the film suffers a serious case of “prequelitis” where one is joining the dots of Furiosa’s backstory to connect with Charlize Theron’s characterisation in Fury Road. Yes, of course, we find out how she had her arm torn from her body, her drives and motivations, plus how she became a kick-ass future road warrior.  

Taylor-Joy is striking in the all-action role of Furiosa, but a little anorexic on screen to really dominate. Gibson and Hardy are a hard act to follow! Tom Burke stands out amidst the support ensemble, while Chris Hemsworth treats us to another revved-up messianic lunatic. With the character of Mad Max on hiatus, the true stars of this show are Miller and his impressive production, camera, editing, driving, effects and stunt teams. They have once again produced cinematic carnage of the highest order.

Mark: 8.5 out of 11

Articles, Cinema, Cult Cinema, My Cinematic Romance, Six of the Best

SIX OF THE BEST #38 – ROGER CORMAN

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SIX OF THE BEST #38 – ROGER CORMAN

Sadly, the uber-filmmaker, Roger Corman passed away on May 9th 2024. But given the longevity of his life and career in films it’s really time to celebrate his life in cinema. To me Roger Corman is a hero because he is a true independent filmmaker, working outside of the Hollywood system producing hundreds of films, many of which were extremely successful financially.

Of course, for a man known as the “King of the B-Movies” not all of the films were the height of artistic merit, however, they were NEVER boring. So many of his films have real invention and a crazy energy. What separates Corman from say Ed Wood is he knew how to tell a proper story on a low budget. Indeed, films such as Little Shop of Horrors (1960) and Death Race 2000 (1976) would latterly get the big-budget Hollywood remake treatment. Further, without Corman’s The Wild Angels (1966) starring Peter Fonda, Hopper and Fonda’s counter-cultural phenomenon Easy Rider (1969) may not have existed.

As well as boosting the careers of Peter Fonda and Dennis Hopper, as a producer Corman also gave starts to Francis Ford Coppola, Jonathan Demme, James Cameron, Sandra Bullock, Robert DeNiro, Jack Nicholson, Martin Scorsese, Pam Grier and many more. Corman did not just have a keen eye for talent, he was canny because he knew that such hungry filmmakers and actors could be “exploited” at a lower cost than bigger Hollywood names.

So, as a mini-tribute I have selected six of the best Corman films I have seen. Rest in peace, Mr Corman – you were a true cult and cinema legend!

LITTLE SHOP OF HORRORS (1960)

Incredibly, this film was shot in three days for $28,000 and would become a cult hit after initially struggling to find distribution. Amazingly, Corman did not expect the film to be successful so he didn’t bother to copyright it. It is therefore in the public domain! I myself saw it recently on Talking Pictures and it is a so entertaining. Look out for a hilarious early performance from Jack Nicholson.

THE INTRUDER (1962)

This is perhaps the most seriously raw and challenging film of Corman’s career. William Shatner portrays charismatic racist, Adam Cramer, a travelling salesman, who becomes hellbent on preventing racial desegregation in a Southern town. It was a landmark film for Corman who decided, “It was more of a lecture. From that moment on I thought my films should be entertainment on the surface and I should deliver any theme or idea or concept beneath the surface.”

MASQUE OF THE RED DEATH (1964)

Three masters of horror for the price of one with Edgar Allen Poe, Corman and Vincent Price, combining to chilling effect in this beautifully filmed period ghost story. Arguably the most artfully directed film of Corman’s career, the cinematography was by one Nicolas Roeg, proving once again Corman was an expert at spotting film talent way ahead of time.

BLOODY MAMA (1970)

Cashing in on the success of period gangster film, Bonnie and Clyde (1967), Bloody Mama (1970) is a gloriously over-the-top chase thriller, with Shelley Winters eating the scenery in a brilliant performance. Robert DeNiro appears at Ma Barkers drug addicted son, Lloyd, showing glimpses of the acting talent that would lead to so many incredible performances. But it is Winters’ film as the “loving” and gun-toting mother who leaves a lot to be desired as a positive parental role model.

DEATH RACE 2000 (1975)

The epitome of a high concept cult movie, directed by Paul Bartel, this features the brilliantly sick idea of racing drivers killing members of the public for entertainment. Full of terrific gore and gallows humour, this is one of those Corman produced films where a bigger budget would have served the action so much better. It was still a massive hit though. The imaginative deaths, cutting satire and demented characterisations from the likes of Sylvester Stallone, Martin Kove and deadpan David Carradine are memorably fantastic. I cannot help thinking Death Race 2000 must have been an influence on The Purge franchise too.

BATTLE BEYOND THE STARS (1980)

Corman’s biggest budgeted film at the time of release at $2 million, this film is both a rip-off of Star Wars and homage to The Seven Samurai, or it is the other way round? The massive budget was essentially due to George Peppard’s and Robert Vaughan’s salaries, both of whom would become stars of The A-Team. If you didn’t know many of the inventive practical special effects were supervised and created by a certain James Cameron, who got his big break as the lead production designer and art director on Battle Beyond the Stars.

Cinema, horror, Reviews, Shudder, Television

SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

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SHUDDER REVIEW: LATE NIGHT WITH THE DEVIL (2023)

Written and directed by Colin Cairnes and Cameron Cairnes

Produced by Mat Govoni, Adam White, John Molloy, Roy Lee, Steven Schneider and Derek Dauchy

Cast: David Dastmalchian, Laura Gordon, Ian Bliss, Fayssal Bazzi, Ingrid Torelli, Rhys Auteri, Georgina Haig, and Josh Quong Tart

Cinematography: Matthew Temple

*** MAY CONTAIN SPOILERS ***

Some years ago I wrote an article about how I dislike the found footage sub-genre and that article can be found here. Occasionally, found footage is used well such as in Creep (2014) with Mark Duplass or REC (2007) or Chronicle (2012). Now you can add Colin Cairnes and Cameron Cairnes, Late Night With the Devil (2023) to that list of found footage films I actually enjoyed.

Technically, one could argue it isn’t really found footage and it negates such films often “amateurish” filming methods, with a truly stylish rendition of 1970’s television chat shows. However, we are asked by the narrator to view “never-before-seen” images and sounds from a previously unreleased and infamous TV chat show presented by ‘Night Owls’ host, Jack Delroy (David Dastmalchian). So, found footage it is!

David Dastmalchian is absolutely fantastic in his role as ambitious but desperate to be number-one chat show host, Jack Delroy. Often cast in supporting roles he now grabs the chance to become much more than that scene-stealing character actor. Delroy is not unlikable, but his arrogance and ambition dominate his personality. So much so, and despite his grief at losing his wife to cancer, he is prepared to allow all sorts of creepy and inappropriate situations unfold in his desperate search for TV ratings.

Delroy pits a dubious psychic Christou (Fayssal Bazzi) against skeptical former magician Carmichael the Conjurer (Ian Bliss), before asking parapsychologist author June Ross-Mitchell (Laura Gordon), and her subject Lilly D’Abo (Ingrid Torelli) to contact a demonic presence called ‘Mr Wriggles,’ live on television. Even after Christou is rushed to the hospital and Lilly contorts and spits out growling obscenities, Delroy decrees the show must go on. The Cairnes Brothers then continue to ratchet up the tension and horror to a deadly and shocking ‘Night Owls’ televisual denouement.

With echoes of the recent Inside No. 9 (3×3 quiz show episode) and BBC show Ghostwatch (1992), and of course The Exorcist (1973), Late Night With the Devil (2023) is one of the most enjoyable horror films I have seen in sometime. The 1970’s period setting and TV studio location is impressively recreated by the fantastic production team, especially on a relatively low budget. Arguably, the plot, once you dig down into it lacks emotional depth, however, the pacy and darkly funny screenplay more than compensates for this. Overall, the film’s style, design, direction and a commanding performance from Dastmalchian ensure Late Night With the Devil (2023) is essential viewing for all horror fans.

Mark: 9 out of 11

Articles, horror, Short films

INFERIS (2024) short film POSTER and STILLS

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INFERIS (2024) – A new horror short poster and stills.

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024).

I wrote and produced it as a very low-budget psychological horror proof of concept short.

It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here’s the poster:

Here are some stills:

If you haven’t seen it, the trailer is here:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

horror, Short films

INFERIS (2024) – A new short psychological horror film trailer

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INFERIS (2024) – A new horror film trailer

After a few years gap I finally managed to get back into the short filmmaking process last year with INFERIS (2024). I wrote and produced it as a very low-budget psychological horror proof of concept short. It was filmed at Raindance Film School in August 2023 and post was completed in February 2024.

Here is the trailer:

INFERIS (2024) – Production Details

Tagline – “They make you work like hell!”

Logline – Recent prison leaver, Joseph Mann, begins a new job at Inferis Security. Hoping for a fresh start he finds himself drawn toward a mysterious door that leads to god knows where.

Cast and Crew

Director: Philip Wolff

Writer: Paul Laight

Producers: Paul Laight and Philip Wolff

Cast: Shaun Rivers and Julia Florimo

Cinematography: Toma Iaramboykov

Sound: Delbert Grady

Camera Assistant: Jackey Limbu

Lighting Assistant: Max Wronka

Editor and Post-Production: Gary O’Brien

Music: Premium Beat & Lord Oscillator

© 2024 A Fix Films and 21st Century Wolff Production

Cinema, New Releases, Reviews

CINEMA REVIEW: THE ZONE OF INTEREST (2023)

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CINEMA REVIEW: THE ZONE OF INTEREST (2023)

Directed by Jonathan Glazer

Written by Jonathan Glazer – based on The Zone of Interest by Martin Amis

Produced by James Wilson, Ewa Puszczyńska

Main cast: Christian Friedel, Sandra Hüller, Imogen Kogge, etc.

Cinematography by Łukasz Żal

Sound Designer: Johnnie Burns

Music by Mica Levi

Jonathan Glazer is not the most prolific of directors, so when he releases a film it provides powerful cinematic coffee to wake up the cultural senses. His last film, the mesmeric Under The Skin (2013), is one of the most original of the century for me and once again with, The Zone of Interest (2023), Glazer has determined to take a provocative approach to cinematic form, style and themes.

I usually advise near the top of my reviews that the piece may contain spoilers. However, there is so little plot in The Zone of Interest (2023), that is difficult to give anything away. The depth of the story comes from the intellectual approach to cinematic form and the wartime setting, with a narrative based on Martin Amis’ novel about the Holocaust and specifically, the concentration camp, Auschwitz. But Glazer only hints at such Nazi barbarism as the point of view of the film is presented solely from the commandant Rudolf Hoss’ (Christian Friedel) and his family’s perspective. Glazer and his outstanding production team deny us sight of the death and torture from within the Hoss house and garden.

Glazer and his sound designer, Johnnie Burns, employ powerful aural style to incredible effect as screams, tools smashing, gun shots and shouting pierce the screen throughout. Mica Levi’s minimalist score also punches through to startle too. Further, as the Hoss family, notably his spoilt children and privileged wife (Sandra Huller) go about their everyday business puffs of smoke billow over their garden as they remain unimpacted by what is occurring outside. Glazer also uses negative film processing, gliding tracking shots and metronomic editing from multi-camera set-ups to stylistic devices to break the fourth wall and to reinforce the everyday routine where all is not what it seems.

One may argue Glazer’s film is experimental and anti-narrative. I rarely cared about the Hoss family and not enough of the Auschwitz inmates is seen to raise one’s emotions. Thus, The Zone of Interest (2023) is a cold and intellectual film to absorb. Yet, I would argue that it is not experimental because Glazer is so in control of the filmmaking process. His creative choices and results are delivered in an extremely confident way. Certainly I felt that the film was more anti-drama than anti-narrative or experimental. For those looking for a more conventional addition to the war film genre could be disappointed.

Ultimately, The Zone of Interest (2023) is a horror film with the barbarism hidden. As the murder and genocide are occurring, the Hoss family unit remain unmoved by such atrocities. From a safe distance the audience watch them attend parties, tend their vegetables, feed their children, eat their dinner, play games and sunbathe. Is Glazer asking if we as humanity are complicit in our privileged comfortable homes while horrors go on around us in the world? Is this Nazi version of the Garden of Eden a metaphor for the world as a whole now? Does a lack of action or inaction to known crimes make one complicit? There are no easy answers, but it gets you thinking. Just like this highly intellectual and expertly constructed work of cinema.

Mark: 9 out of 11