AUstralian horror filmmakers have a draft spectacular Late at night with the devil,, You won’t be alone,, You will never find me,, Wet henLeigh Whannell underrated Wolf Man Reboot and Talk to me. The latter – which revolves around adolescents looking for thrills who converse with spirits instead of taking recreational drugs (children today!) – marked the diabolically good beginnings of directors born in Adélaïde Danny and Michael Philippou.
They are back – or Baaa -Aack! – With another portion of macabre bravado from the black cauldron. Bring it back is lighter on thrills and spills for the midnight film and heavy with thick and abject horror and despair, with an intensely disturbing performance of Sally Hawkins As a host mother of hell. She plays Laura, a former social worker who welcomes two teenagers in her house around which orbiter history: Piper (Sora Wong), who is visually impaired, and her older brother, Andy (Billy Barratt).
At the start of the racing time, the pair discovers his father dead in the bathroom and, with Andy three months too young to be the tutor of Piper, they move with Laura and his other adoptive child, Oliver (Jonah Wren Phillips). The latter is a frightening child of the central cast: mute, with a shaved head, a look of a thousand yards and a tendency to do things that literally left me by watching the film through the gaps between my fingers.
It is clear that something has gone a bit about Laura, whose daughter died some time ago. But the script (written by Danny Philippou and Bill Hinzman) obscures his intentions for a long time, fueling a terrible anticipation aura. Hawkins’ performance is shy, dancing in an evasive way between light and heavy emotions; Trying to nail exactly what is wrong with Laura is like trying to pin the water with a knife. She creates a character who is in need, desperate and, as we realize more and more, was choking with an intense desire, before moving to a more volcanic space.
Strange sounds rumble and buzz on the soundtrack, with the creative partition of Cornel Wilczek taking place as if it were partly composed by demons; Maybe he took the hand on his hand embalmed to speak to me and consulted the world of minds. Circles become a visual motif, involving black magic and rituals, and there are blurred sporadic visions of demonic companies recorded on video bands. The humble VHS format has been recounted in a strange relic of yesteryear, ghouls of the wandering past in the shadow of past technology, isolated from the modern digital world.
Keep an eye on Oliver: when this child starts to do crazy things, bring him back to a next level, images that will challenge even horror lovers with cast iron stomachs. There is no doubt that the art, craftsmanship and the impact of this film, even if I left the cinema asking me if I was a richer person for having lived it, or in one way or another irrevocably tarnished.
I could normally feel inclined to go home and take a cold shower – but not after this film. Water is often used to signify cleaning, renewal and Renaissance, but, in their most daring visual realization, the Philippous Hir20 In something hideous, a rain of metaphorical devil meaning implacable emotional pressure. They succeed in part by contrast: there is too much water or not enough.
An example of the first belongs to this terrible first scene when Piper and Andy meet the corpse of their Fathe, the water still gushing from the shower, the steam thickens the air in a horrible mortal. An example of the latter can be found in the empty swimming pool of Laura, which is a strangely evocative image: observing a swimming pool without water, is to see something that is simply not RIGHT – a literal emptiness; A space that must be filled.
I dare say that the swimming pool might not be in mind when the fence credits roll. You will be prey to much more painful visuals – and, like me, to ask you how to get rid of it.
Bring it back is In cinemas in Australia from Thursday, in the United States from Friday and the United Kingdom of August 1
