foreign film

Impetigore

After a deadly encounter with a stranger, Maya decides to learn more about the parents she never knew. With her best friend Dini in tow, they travel to a small village where Maya might be from. They soon regret ever trying to uncover the secrets of Maya’s past.

Beloved Indonesian writer and director, Joko Anwar (Satan’s Slaves, Folklore) brings audiences around the world new terror. Impetigore wastes no time in bringing suspense to the screen. The protagonist, Maya, has a frightening encounter at work that leaves her shaken and questions her past. She was raised by her aunt and knows almost nothing about her parents or where she comes from. From there, the tension continues to build as the two friends arrive at the remote village and get a chilly reception from the locals. Anwar takes his time with the plot, allowing the audience to connect with the two female leads. He also takes his time in revealing shocking revelation after shocking revelation leading to the explosive finale. There are so many secrets to unpack throughout the film and each one manages to be more surprising than the last. This focus on building suspense and minor scares over bigger jump scares and horror leads to an edge-of-your-seat viewing experience. It also results in a film that stands apart from others like it and an ending you won’t see coming.

One of the things I love about watching foreign horror films, and Impetigore specifically, is learning about different cultures. Every culture has its own legends, customs, and ghosts. Impetigore offers a fascinating glimpse into the customs of a rural Indonesian village and their unique view of curses. While the legends are incredibly interesting, the integration of traditional Indonesian puppetry is not only stunning, but it adds another captivating cultural aspect. As an anthropology major, I greatly appreciate when a horror film can be eerie as well as a learning experience.

Impetigore has a wonderful cast who all deliver haunting performances. Tara Basro (A Copy of My Mind, Gundala) stars as Maya. Basro gives off an air of innocence, which works well for her character. She is unaware of her past and deals with new information as best she can throughout her hellish journey. Marissa Anita (Gundala, Folklore) plays Maya’s best friend, Dini. Dini is a much more outspoken character and Anita perfectly shows how she is Maya’s protector and does what she can to be a supportive friend. Ario Bayu (Java Heat, Soekarno) plays the village elder, Ki Saptadi. Bayu’s portrayal of this character is memorable because he comes across as a very calm, stately man, but he also manages to convey a sinister nature in his eyes. Honorable mention goes to Christine Hakim (Eat Pray Love, The Golden Cane Warrior) and Asmara Abigail (Gundala, Satan’s Slaves). Together these two women offer two differing points of view of the superstitions of the small village.

Every scene in Impetigore is gorgeous and atmospheric. The film opens in the big city, but as soon as Maya and Dini travel to the village it’s as if they have been transported to another time. The set and production design are truly stunning to behold from the smaller huts to the grand house Maya’s parents once owned. The puppetry scenes are also quite beautiful. It is a traditional Indonesian form of puppetry that utilizes light to project the shadows of the puppets onto a screen. The use of light and dark, like with the puppets, is a common theme throughout Impetigore. In the village there is no electricity, so many of the night scenes are lit by candlelight. It creates an unsettling ambiance while also making each scene captivating. On top of that, there is even a surprising amount of disturbing and realistic practical effects that result in rather shocking scenes.

Impetigore is a bewitching Indonesian horror film that drips with atmosphere and spins an intricate web of magic and deception. Joko Anwar proves yet again that he is a talented storyteller. His handle on Indonesian folklore allows the rest of the world to be exposed to his frightening tales. The performances from the entire cast are delightful, especially Basro’s portrayal of Maya. Through the slow unravelling of the mystery of Maya’s family, audiences will not be able to look away at the truly fantastic visuals. And, because I unfortunately still have to do this for some people, I will warn audiences that the film is subtitled. Yet I hope that won’t deter anyone from feasting upon all Impetigore has to offer.

OVERALL RATING: 9/10

Metamorphosis

After a failed exorcism, a Korean priest is questioning his faith and if he should remain in the priesthood. Shortly after, his brother’s family begins to experience strange happenings that become increasingly violent. It soon becomes clear that the vengeful demon is back to destroy the ones the priest loves.

Director Hong-seon Kim (Traffickers, The Chase) brings horror fans a frightening new possession film with Metamorphosis. The Korean horror film opens on the priest conducting an exorcism. It does not end well, and the demon makes it clear it wants to destroy his family. The focus then shifts to the brother’s family. Kim does a beautiful job of building the tension within the family unit, planting various seeds of doubt. There is a sense of paranoia for the viewer as we have to try and determine which family member is possessed and if what we are seeing is real or an illusion created by the demon. It conveys how easy it is for the devil and demons to play with the human mind and eventually take control. Many of the themes and images will be familiar to horror fans who have seen a fair amount of demonic possession films, but Metamorphosis still manages to pack a few surprises in there as well.

For the most part, the storytelling in Metamorphosis flows beautifully. The audience is given just enough information to understand what’s going on, but then shocking revelations are made to keep things interesting. That being said, there are some tangents, superfluous scenes, and extraneous characters. These scenes don’t necessarily take away from the plot, but they don’t really add anything to the film and could easily be cut. The tangents could be a hallmark difference between Korean and American films, as this is something I have noticed in other great Korean horror films. There is also a sequence of events that takes place in which audiences might wonder why the parents aren’t more concerned about the whereabouts of one of their children. Despite the distractions taking place to keep the parents occupied, it still seems a bit odd.

I was blown away by the performances in this film. Sung-Woo Bae (The King, The Swinders) plays the young exorcist, Joong-soo. Not only is Bae the driving force of this film, but he perfectly conveys how tortured Joong-soo is and his lack of confidence in his ability to save his family. Dong-il Sung (Take Off, The Cursed) plays Joong-soo’s brother, Gang-goo. Not only does Sung play Gang-goo, the loving father and husband, but he also plays a demonic version of himself. The moments where he plays his sinister doppelgänger are absolutely chilling to watch. Then there are the rest of the family members who all give equally fantastic performances. This includes Young-nam Jang (A Werewolf Boy) as Myung-joo, Hye-Jun Kim (Kingdom) as Sun-woo, Yi-Hyun Cho (Hospital Playlist) as Hyun-joo, and Kang-Hoon Kim (Lucid Dream) as Woo-jong.

There is a surprising amount of great practical effects throughout Metamorphosis. The most obvious is the transformation of individuals who are possessed. They all have prosthetics added to their face to give them a subtle, demonic look that is consistent with each individual. What is most shocking is the practical effects for all the horrific injuries. They are gory and realistic in a way I don’t typically expect from a possession film. There is a bit of CGI throughout the film as well, but for the most part it is minimal. The only exception is an excessive amount of crows throughout the film that act as a symbol for the demon, but they aren’t quite as well done as the rest of the effects. Between the practical effects, the cinematography, and the atmosphere created, there are a few different scenes that manage to make me jump out of my seat.

Metamorphosis is an achievement in atmospheric terror that results in one of the best possession films I’ve seen in years. It’s a perfect blend of the Catholic traditions we know from possession horror films and more uniquely Korean horror. Despite some of the scenes that seem unnecessary for the plot, Kim still proves he can tell a masterful tale dripping with suspense. Enhanced by the dynamic performances and gruesome practical effects, this is one film even those who hate subtitles won’t want to miss.

OVERALL RATING: 8/10

Yummy

In a secluded Eastern European hospital, a woman goes to get breast reduction surgery while her mother is getting more work done to look younger. While they are prepped for surgery, the woman’s boyfriend accidentally stumbles upon something he shouldn’t have, unleashing a nightmarish zombie outbreak inside the hospital walls.

This zombie gore-fest hails all the way from Belgium. Lars Damoiseaux (10 jaar leuven kort, Undercover) directed and co-wrote the film along with Eveline Hagenbeek (Undercover, Rokjesdag). Yummy takes humorous jabs at plastic surgery and the lengths people will go to feel young and beautiful, while also delivering copious amounts of blood and guts. When we are introduced to the young woman, her mother, and her boyfriend, it creates an interesting dynamic. This is especially evident with mother and daughter. The daughter has the “God given gift” of very large natural breasts, but she hates the attention they bring her so she wants breast reduction. The mother, on the other hand, has already had multiple procedures to look younger and comes to the hospital wanting more. While both sides represent being unhappy with who you are and the way you look, the mother is the more traditional view of plastic surgery most viewers will think of. The film creates a kind of “be careful what you wish for” scenario as the doctors accidentally created the zombie virus in their quest to unlock the secrets of eternal youth. It sends a strong message, but it also allows the filmmakers to inject quite a few laugh-out-loud moments.

While for the most part Yummy delivers lots of fun along with the carnage, there are some drawbacks. There are one or two scenes that lean a bit too far into the realm of distasteful humor. It’s clear they want to push the envelope, especially with some of the effects, but it ends up bordering on offensive. That being said, most of the practical effects throughout Yummy are very well done. There are a lot of terrifying and gruesome zombies in this film and each one looks fantastic. In a few scenes there are practical effects to replicate cosmetic surgery or other aspects of the human body and those are also quite realistic. The film even has a great score, although during one scene it sounds very similar to the score from 28 Days Later.

There are many great performances in Yummy, but three stand out. The first is Maaike Neuville (De Dag, Clan) as Alison. What really stands out about Neuville’s performance is how she conveys being uncomfortable with her own body. Alison doesn’t want the attention her breasts give her, and the attention most women at the clinic desire, and Neuville excels at showing us that. Bart Hollander (Salamander, Callboys) plays Alison’s boyfriend, Michael. Michael is like a big, maybe slightly pathetic puppy dog; he’s goofy and hates the sight of blood, but he clearly adores Alison. Hollander plays this role well, especially when his many attempts to be the hero don’t quite work out. Then there is Benjamin Ramon (Carnival, Toxic Anyway) as hospital employee Daniel. Ramon does a fantastic job of being incredibly sleazy in one moment, then completely sweet in the next, depending on who he’s interacting with. These three actors also play off of each other very well.

Yummy is a zombie cautionary tale about the consequences of trying to look young forever. Damoiseaux and Hagenbeek definitely create a film that is as funny as it is grotesque. Gore hounds will be delighted with how drenched in blood and guts Yummy is from start to finish. There may be a couple of distasteful moments and a mildly lackluster ending, but it is sure to entertain viewers. The performances and cosmetic surgery hospital backdrop help to make this zombie film stand alongside others of its kind, even if it doesn’t stand above them. And because in this day and age some people still refuse to watch a film with subtitles, I will let potential viewers know that it’s about 50/50 English vs subtitles. If you’re looking for mindless fun, then this is definitely a great choice.

OVERALL RATING: 6/10

Tigers Are Not Afraid

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Drug wars have turned cities into ghost towns. They have also left children without parents or homes, forced to fend for themselves on the streets. After Estrella’s mother doesn’t come home, she is left to seek shelter and help from a group of orphaned boys. Their fight for survival on those unkind streets takes the children down a twisted fairy tale complete with wishes, zombies, and tigers.

Written and directed by Issa López (Casi Divas, Ladies’ Night), this film is one of the most talked about indie horror films of the year. Much of the talk about Tigers Are Not Afraid is thanks to legendary director Guillermo del Toro (Pan’s Labyrinth, The Shape of Water) singing its praises. Much like traditional fairy tales, the film opens by introducing us to the lovely “princess” in the form of Estrella. Everything that happens in the film is either shown from her point of view or the leader of the orphaned boys, Shine. They are all doing their best to survive on the streets while avoiding the cartels. At the same time, Estrella is haunted by the memory of her mother and the weight of three chalk pieces that may or may not be able to grant her wishes. She bears this weight all on her own since the other orphans don’t see the things Estrella sees. This childlike point of view allows for the reality of the brutal crimes happening all around the kids to seamlessly blend together with the fantastical elements. The result is an incredibly unique story that is as unsettling as it is beautiful.

All of the main characters in Tigers Are Not Afraid are children, and each of them is a joy to watch on the screen. Young leading lady, Paola Lara, makes her feature film debut as Estrella. When Estrella joins the group of boys, she immediately takes on a maternal role, yet her longing for her mother keeps her trapped in the twisted fairy tale. Lara manages to show a certain amount of vulnerability, while also showing how Estrella is able to adapt in order to survive. Also making his feature film debut is Juan Ramón López as Shine. His performance, for me, is the stand-out of the film. Poor Shine is both emotionally and physically scarred from losing his mother to the cartels. Shine takes care of the other boys and takes on a tough-guy persona, but López shows the ocean of emotional depth hidden just beneath the surface of that persona. Both Lara and López are great on screen together, naturally taking on the roles of mother and father to the other boys despite being kids themselves. The other children in their small band of orphans are also a joy to watch, including Hanssel Casillas (Sitiados: México) as Tucsi, Rodrigo Cortés as Pop, and Nery Arredondo as the adorable Morrito.

The film is a feast for both your eyes and ears. As the film begins, the sets are slightly run down apartments and makeshift rooftop shelters. Then the fairy tale element is played up more throughout the film when the kids discover what appears to be an abandoned old mansion. What might be the most surprising artistic element of Tigers Are Not Afraid is the superb use of CGI. For the most part, the effects themselves are subtle, but because they all relate to the fantasy in the plot the effects still stand out. There are dragons, sentient blood trails, tigers, and more all done with gorgeous CGI. Then of course the plot is emphasized by the melancholy and captivating score by composer Vince Pope (Misfits, Black Mirror). The film is stunning on how well it combines the horrors of life and nightmares with the hope of children and their fairy tales.

Tigers Are Not Afraid is a uniquely dark fairy tale rooted in the real life horrors experienced by children. López has shown the world she can not only write a compelling film, but she can also direct and bring it to life in a way that is simultaneously haunting and heartbreaking. It is the kind of film that can make the audience feel the full gamut of emotions through effective storytelling and fantastical visuals, not to mention the amazing performances from the entire cast of young actors. One thing I will warn people of is that this Mexican film is in Spanish and is subtitled. While this should never deter a viewer from watching a film, I know in this day and age many people shy away from subtitled films. Tigers Are Not Afraid is the kind of film that will be noticed by a wide range of audiences, not just horror fans. I can’t wait to see what López does next.

OVERALL RATING: 9.5/10

The Funeral

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Zhong Tonghiu, a young model with a tragic past, receives an invitation to her aunt’s funeral. Even though this aunt isn’t a blood relative, and she hasn’t seen her in years, Tonghiu still decides to go. When she arrives at her aunt’s remote mansion, strange things begin to happen. Something sinister is happening and time is running out for Tonghiu.

The Portland Horror Film Festival was lucky enough to get The Funeral for its world premiere. The film comes all the way from China and was written and directed by Yujie Qiu in her directorial debut. With an atmospheric slow-burn style, The Funeral builds suspense as a strange mystery is unraveled. When we first meet Tonghiu it is when she experiences her mother’s suicide as a child. This leads to a lifetime of nightmares that only become worse when she goes to her late aunt’s mansion. Everyone in the remote mansion seems to have some sinister motive. The tension gradually grows until the climax of the film as Tonghiu tries to discover the truth.

While The Funeral tells a compelling story, the ending takes away from the overall impact of the film. I won’t go into too much detail of the actual ending, but I will say the ending makes sense after hearing the star of the film discuss it at PHFF. Leading lady Kunjue Li traveled all the way from London to be at the world premiere of The Funeral. The way she explained it to the audience after the film, there were multiple different endings filmed and she wasn’t aware of which one was chosen until she watched it with the rest of us. The ending chosen isn’t necessarily the best option to serve the plot, but Kunjue described the many rules and regulations involved in Chinese film. There is so much censorship that it is difficult to make any film, let alone a horror film. With this in mind the end of the film makes sense, but I can’t help but wonder how different the film would have turned out if it had been filmed in a country with less censorship.

Aside from the eerie story being told, The Funeral also has fantastic performances from the small cast. Everyone does a great job adding to the tension of the film, but there is one performance that truly makes this film stand out. Leading actress, Kunjue Li (Peaky Blinders, One Child) is completely entrancing as Tonghiu. She has a gentle innocence about her, but there is strength deep within that comes out as Tonghiu’s life is threatened. Kunjue even won the “Masque Rouge Award” at this year’s PHFF, which is given to the actor or actress the festival directors believe delivered the best performance.

Much of the eeriness of this film comes not only from the plot, but from the look of the film. The film is primarily set in a gorgeous yet dark mansion secluded in the countryside. What is especially impressive about the set design is that, whether in darkness or in bright light, there is an edge that implies something is wrong. There are also lovely visuals for the various dream sequences. Many of these scenes are filmed with a very soft focus, making it simple to determine what is reality and what is a dream.

The Funeral manages to be a compelling and chilling film, despite the lengths it has to go through to get through censorship regulations. The backflips Yuje clearly went through to make this film in China only proves her talent as a writer and director. She created a film that is fascinating, has great performances, and is beautiful to look at. Unfortunately the ending of the film suffers from having to follow China’s film censorship. Without the context of that censorship, I might not have appreciated the film quite as much. I would be curious to know what some of the other endings were and I hope audiences outside of China will get the opportunity to see them.

OVERALL RATING: 7/10

The Cannibal Club

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A wealthy Brazilian couple live in the lap of luxury. While on the outside they appear to live a typical rich lifestyle, behind closed doors they get up to some eccentric activities. One of those activities is killing and eating young men. The husband is even part of a cannibal club that is exclusive to rich men. When the wife catches the leader of the club in a compromising position, the couple find themselves in a dangerous position that could cost them their lives.

Brazilian writer/director Guto Parente (The Mysterious Death of Pérola) takes his audience on a strange journey with The Cannibal Club. The plot overall follows a specific pattern. We see the two leads, Otavio and Gilda, as they go through a bizarre mating ritual that also involves them killing their next human meal. Then there is a small amount of intrigue as the audience learns about the cannibal club and the various wealthy and powerful men who are apart of it, including Otavio. This allows the audience to meet the leader of the group, and the one who Gilda catches in a compromising position. There is a bit of excitement as Gilda and Otavio try to find a way out of their precarious position without losing their lives, and in the process they recruit a new employee to help them. Then the film reverts back to Gilda and Otavio’s typical mating dance, but with slightly different results.

The Cannibal Club almost comes across as a combination of Eyes Wide Shut and Hostel, but it lacks the true intrigue and thrills of those films. There is a lot of opportunity to build in various twists to add to the suspense, but unfortunately the film feels rather monotone. There are a couple minor moments that might elicit a gasp, but they are mostly there simply for shock value and don’t add anything to the plot. There is also not a lot of focus on the cannibal club itself, despite the title of the film, and instead the focus is on Gilda and Otavio’s strange relationship. This is fine, except it leads to a rather lackluster subplot about the club and a bit of a missed opportunity for more tension and thrills. It also leads to a plot that at times is quite predictable.

One of the stronger parts of this film are the performances. A highlight for me was Ana Luiza Rios (The Last Breath) as Gilda. She is equal parts charming and sinister. It is amazing to watch her be confident and seductive only to then eat a human being with a smile, and Rios portrays her very well. Her husband, Otavio, is played by Tavinho Teixeira (Batguano). Otavio is as cold-hearted as they come, yet he has a soft spot for Gilda. Teixeira does a great job of portraying the two sides of Otavio and his on-screen chemistry with Rios. These two breathe some life into the film that is often times on the dull side.

Another aspect of The Cannibal Club that adds some interest is the visuals. The cinematography alone is very beautiful and enhances the idea of Gilda and Otavio’s opulent, wealthy lifestyle. Especially with how the various locations are filmed, everything looks incredibly expensive, shiny, and unattainable. While they are used at a minimum, the practical effects are also very well done. In one specific scene at the beginning of the film the audience is shown a victim getting butchered and chopped into prime cuts of meat. Not only are the practical effects in this scene frighteningly realistic, they also stand out in the lavish home the scene is set in.

The Cannibal Club has some successful elements, the lack of tension in the plot results in a rather forgettable film. Many parts of the film will feel reminiscent to similar films that came before it, all of them focusing on wealthy clubs who prey on the less fortunate, yet this film doesn’t carry the suspense or excitement of its predecessors. The performances by the two leads are enough to hold my interest and the stunning sets, cinematography, and effects give the audience something to catch the eye. Despite these more successful features, the film will likely be forgotten by the time people pick their “best of 2019” films.

OVERALL RATING: 5.5/10

Snowflake (Schneeflöckchen)

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Two criminals come across a strange screenplay. As they read it, the pair realize the screenplay says exactly what they have said and done, and what they will say and do. They try to track down the writer of the screenplay in order to change their fate, all the while dodging attempts on their life by hitmen hired by a mysterious woman.

Of all the films you will or have watched in 2018, none will be quite as meta as Snowflake. The film was written by Arend Remmers (Unsere Zeit ist jetzt) and directed by Adolfo J. Klomerer (A Time of Vultures) with William James as guest director, this being James’s directorial debut. The film takes place in Berlin in a not-so-distant future where criminals run rampant. Between the lawlessness, the filming style, and some of the music choices, the film almost has the feel of an old Western. The plot is broken up into chapters, allowing the audience to focus on specific characters in each chapter and learn new pieces of the puzzle leading up to the final act when the various characters come together. Some of this information is given in non-sequential order. This particular method seems to help get you more in the mindset of the two criminals as we learn new information right along with them.

The meta aspect comes in the form of a screenplay within the screenplay. The two criminals find the writer of the screenplay (who is also named Arend Remmers). The man is a dentist trying his hand at his first screenplay, yet for some reason everything he writers appears to be happening in real life. It creates many layers that can be confusing at times, but by the end everything comes together rather nicely. There is the screenplay of the film audiences are watching, which is also the screenplay written by the dentist, which is happening to the characters in their real lives.

Snowflake has compelling characters from many different backgrounds. Each one is very well developed, making the audiences feel invested in their fates. The characters audiences will be especially invested in are the two criminals, the vengeful woman who wants to kill them, her friend/bodyguard, a singer who may be a guardian angel, and a cannibal hitman. The one thing virtually every character has in common is revenge. The thirst for revenge is a what drives most of the lead characters in Snowflake, and therefore it drives much of the plot. The only character who feels out of place with the film is a vigilante who wears a full-on superhero costume and uses electricity to fight criminals. This character does not fit in with the overall tone of the film, and his storyline could honestly be entirely cut from the plot. Aside from him, the rest of the characters are fascinating and dynamic.

This is a film that has a very talented cast. The most enjoyable to watch are Reza Brojerdi (Homeland) as Javid and Erkan Acar (The Key) as Tan. These two men are the criminals at the heart of Snowflake. Despite some of the more violent antics these men get up to, there is something completely endearing about them. Both Brojerdi and Acar are so enjoyable to watch, and they are able to bring humor into some of the darkest situations. Another notable performance is Xenia Assenza as (Unsere Zeit ist jetzt) as the tragic Eliana. While all the characters in this film have dual natures, showing that no one is purely good or evil, it is the most apparent with Eliana. She is a victim, but Assenza’s portrayal shows how the thirst for revenge can bring out the evil in even the best people. Honorable mention goes to other memorable performances from the likes of David Masterson (American Renegades), Alexander Schubert (Triple Ex), and Adrian Topol (Franz + Polina).

There is a certain gritty aesthetic in this film. The gorgeous cinematography and coloration create that grittiness. It allows the filmmakers to emphasize the lawless, Western feel of Snowflake. The effects are also quite important in a film where violence is such a crucial aspect of the plot. This film does a very good job of making the various wounds, injuries, and prosthetics look raw and realistic. All these artistic elements combine to immerse the audience in this crime-filled world.

Snowflake is a veritable nesting doll of revenge tales layered upon each other in a fun and meta way. The different story lines seem unrelated, but as more is revealed leading to the bloody climax, everything ties together. The only aspect of the plot that doesn’t work as well with the others is the random superhero. The structure and artistic elements of the genre-bending German film transports the audience to a unique world and leads down many paths of revenge. With multiple strong performances of fascinating characters, this is a film cinephiles will want to seek out.

OVERALL RATING: 8/10

Lake Bodom

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In 1960 four teenagers were murdered at Lake Bodom in Finland. Decades later, two teenage boys invite two girls to go camping with them. What these girls don’t know is that they are going to the same spot where those teens lost their lives so many years ago. One of the boys is determined to test his theory about who committed the murders. Once the group arrive at the lake things quickly go down a dark and twisted path that some may not survive.

One of the most interesting aspects of this film is that the murders in 1960 are true. Four teenagers went camping at Lake Bodom, and only one survived, although he suffered terrible injuries and mental trauma. To this day the murders remain unsolved. Instead of doing what most films do with true events, and trying to recreate them on film, the filmmakers of Lake Bodom decided to simply use that as a springboard for their story. The previous murders are acknowledged and used as the motivation for this new group to camp in the same spot. From there the plot dives into intrigue, deception, betrayal, and many equally interesting layers.

What makes Lake Bodom stand out to me is that every time you think you have things figured out, a new layer to the story is revealed. While I love that about the film because it keeps the audience guessing, it also felt like there may be one too many layers to the plot. If the filmmakers had held back just a little bit the film would have a stronger overall story. It is almost as if they try to put too many twists and turns into the plot to the point where it is hard to determine where the filmmakers wanted to go with the film. Despite that, I will say the layer that could be taken out does at least make audiences call into question if what they see is real or not.

Lake Bodom is the most visually stunning film I have seen so far at the Phoenix Film Festival/International Horror and Sci-fi Film Festival. Every single shot looks like it is a work of art. The cinematography in the forest setting is not only gorgeous, but is done in a way that looks eerie as well. The filmmakers even do a great job of filming primarily at night, but there is enough light to clearly see what is happening. This is not easy to do without the artificial light being completely obvious. While watching the film it just looks like moonlight, and that only adds to the creepy atmosphere and beautiful style of the film.

The entire cast of Lake Bodom is amazing. Nelly Hirst-Gee (If You Love) portrays the innocent and broken Ida. She is the damaged one of the group and has to go through more of an emotional transformation to find her own strength, and Hirst-Gee does an amazing job in that role. Mimosa Willamo (Headfirst) plays Nora, the strongest personality in the group. Willamo stands out because, much like Hirst-Gee as Ida, she reveals the many aspects of Nora in a compelling way. The two male leads, Santeri Helinheimo Mäntylä (Bitwisards) as Atte and Mikael Gabriel (Flowers of Evil) as Elias, also give excellent performances. Both male characters can come across as creepy and sweet in turn, and both actors convey that very well. One thing they all have in common is that at different points during the film you call into question each of their motives and intentions.

Since this is more of a slasher film, most of the effects are on the minimal side. There isn’t a ton of blood and gore. There is enough blood to feel realistic for the injuries, but not so much that it turns into an over-the-top bloodbath. The kills themselves are also fairly minimal. There is really only one death that is a bit more unique. This one stands out because the way this character is killed fits in so well with what they say just before their death. This is clearly a deliberate choice by the filmmakers to give the audience a bit of an “ah-ha” moment. Also, by keeping things simple with the effects, it forces audiences to focus more on the story at hand.

Lake Bodom is a film filled with murder, betrayal, obsession, and deception. The many different aspects of the film add a lot of intrigue, but it also makes the film seem convoluted at times. Despite that it is still a stunningly filmed story with superb acting from the four leads. It also gives audiences a great mystery that twists and turns in ways that will keep you guessing from start to finish. This is another film that will appeal to many different types of horror fans and non-horror fans alike.

OVERALL RATING: 7.5/10

Raw

raw

A young girl begins her studies at a prestigious veterinary school that her whole family has attended. She was raised as a vegetarian but is forced to eat raw meat during a hazing ritual at the school. Her body reacts to the meat in an odd way, but now she has had a taste for meat and wants more. Once she gets her first taste of human flesh, there is no going back. From that moment on the girl’s life spirals out of control as her hunger grows.

A young girl coming into adulthood and discovering her own sexuality can be complicated and messy all on it’s own. Add to that a burgeoning hunger for human flesh, and things can escalate quickly. What I most enjoy about this plot is how it amplifies what is a normal coming-of-age story by adding the unique cannibalistic element. This young girl, Justine, is already an outsider because she is younger than her veterinary school peers, and therefore still developing into the woman she will become. She is even more of an outsider once she discovers her own unusual eating habits. Justine is alone and has no one to relate to. Even with her own sister attending the same school, she still has no one she can confide in as she goes through her many changes. This can be seen as a metaphor, as the desire to eat human flesh directly relates to her burgeoning sexual desire. It is very fitting that this film was written and directed by a woman, Julia Ducournau, because this is a theme that can only be accurately conveyed by someone who has experienced the changes a woman goes through. Ducournau’s storytelling makes it so you feel Justine’s isolation and confusion on her journey. As a woman it is impossible not to empathize with her, even with the added oddity of her dietary desires.

Obviously the cannibalism, and how it acts as a metaphor for Justine’s developing sexuality, is the driving force of this story. Yet it is also very much about the relationship between two sisters. While Justine is going through her whirlwind of changes she has her sister, Alexia, as a constant presence. Much of what Justine is going through Alexia has herself experienced, so one would expect Alexia to be her sister’s guide and confidant throughout everything. Unfortunately, their relationship is very much the definition of sibling rivalry. While the two love each other very much, they also hate each other like many sisters do. There is a breaking point in every relationship, and yet again the cannibalism acts as the catalyst that threatens to explode their sisterly bond. Many of the themes in Raw, such as the female journey to adulthood and the sibling relationship, feel reminiscent of one of my favorite horror films, Ginger Snaps

The performances by both sisters are delightful. Garance Marillier (Mange) is absolutely marvelous as Justine. She gives the audience a complete transformation from a naive young girl to a sexual, hungry being in a way that feels natural and somewhat visceral. Marillier also manages to feel like a relatable character throughout her transformation. Considering the more eccentric aspects of her metamorphosis, that is quite a feat. Ella Rumpf (Tiger Girl) acts as an excellent counterpoint to Justine as her sister, Alexia. Alexia’s personality is an interesting juxtaposition compared to Justine’s in how differently she responds to various situations. Rumpf’s performance is surprising on more than one occasion and keeps the audience guessing what she will do next. Marillier and Rumpf together create an extraordinary duo that displays the many facets of human nature.

Raw is a very visually stunning film. Of course it is going to have great practical effects as it is a cannibal film. The practical effects in the cannibal scenes are excellent, but they aren’t quite as over-the-top as much of the early buzz for Raw would suggest. It is surely grotesque, but nothing that horror fans haven’t seen before. While the various gory bits were very well done, I found the practical effects used to create the animals to be especially impressive. Since Justine is in veterinary school she obviously will have to dissect an animal at some point. There is a scene where a dog cadaver is dissected in one of the classes. This dog not only looks real on the outside, but on the inside as well.  These effects are great, but I found the cinematography and use of color throughout the film to be the most beautiful aspect of Raw. Many shots are done in such a way where there is chaos concurring all around but your eye still focuses on Justine and the silence within her. These shots are typically used to emphasize her isolation, even when she is surrounded by others. There is also a heavy use of blue and red tones in many scenes. This colors add beauty to scenes that might not otherwise be considered beautiful.

In recent years there has been an increase in horror films that provide an interesting take on the human experience. These films are intelligent, thought provoking, and often times focus on women and the trials they face. Along with the likes of It Follows and The Witch, Raw fits into this unique horror film niche. The coming-of-age story about a girl discovering her sexuality isn’t something one would typically consider horror, but horrific elements are added to the story as a mechanism to exacerbate emotions and events throughout the story. When you add the extra layer of cannibalism to the plot and use it as a metaphor, you get a horror film that forces audiences to see things in a new light. Raw is a beautifully told tale that is gruesome and, as a woman, very familiar. While this might not be what audiences typically expect from a horror film, it is what they should be asking for more of.

OVERALL RATING: 9/10

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