Lucile Hadzihalilovic, the director and co-writer of Évolution is the partner of Gaspar Noé (who is thanked in the credits of this film). I wonder what they talk about at breakfast? Noé is controversial in terms of treatment of sexuality. Hadzihalilovic has three short/medium length films to her credit plus two full length features. Her previous feature, Innocence in 2004, focused on a mysterious girls’ boarding school. Évolution introduces us to a small community of pre-pubescent boys who live with female carers (not their mothers according to one of the boys) close to the sea in small concrete block houses. There are no men in the community and seemingly no girls.
The film begins with an underwater shot, looking up to one of the boys swimming on the surface. He dives down towards the camera and finds something on the sea-bed which will propel him forward as the protagonist of this tale. We aren’t surprised that as all the heroes of fantasy/horror/science fiction/tales of mystery, Nicolas our hero will investigate to uncover the truth and will risk himself becoming a victim of whatever is happening in this unusual community.
What follows is a triumph of camerawork (Manuel Dacosse), editing, set design, production design, effects, music and, not least, performance. The landscape of Lanzarote with its black volcanic ‘sand’ is matched with the dark interiors of a classic horror hospital – with dingy lighting, peeling paintwork and water running down the walls. As one reviewer has pointed out, the opening shot reminds us that humanity came out of the sea and water remains in our consciousness as connected to ‘birthing’. How can I explain anything about what happens without ‘spoiling’ the narrative? All I’ll say is that Nicolas is a real hero and that he has a ‘helper’ – a nurse in the hospital who is for some reason attracted to this boy. In the final reel, Nicolas calls out her name, ‘Stella’. In the opening sequence, referenced above, Nicolas sees a red starfish. A starfish isn’t actually a fish and is perhaps better considered under its alternative name of ‘sea star’. In Latin this is ‘stella marina’. ‘Stella’ (Roxane Duran) is a red-haired nurse. The sea star is an amazing creature and Lucile Hadzihalilovic must have spent some time thinking about this creature and its habits. I certainly found it interesting to research them. In doing so I found a group of Haitian midwives associated with a project called ‘Stella Marina’ – which aims to provide ‘birthing kits’ for use in poorer communities.
I’m not going to say any more about what actually happens in Évolution. All I would say, to give you a flavour of the film, is that it reminded me at one point of the John Sayles film The Secret of Roan Inish (1994) featuring the myth of the Selkie – the creature that can transform from seal at sea to human on the land. Others, less squeamish than me, refer to David Cronenberg films and the cycle of ‘body horror films’ from the 1980s. I can see those references but Évolution is different in tone with its 10 year-old protagonist. It really is a remarkable performance by Max Brebant. It’s only 82 minutes long, but there is a great deal packed into the narrative and trying to tie together all the elements is intriguing.
Évolution was the latest screening in the Picturehouses programming slot in the UK. This involves the possibility that any cinema in the Picturehouses chain (or, I think, programmed/booked by Picturehouses) can show a film for a single screening on a Tuesday. These are films presumably deemed by Picturehouses as not commercial enough for a proper release of multiple screenings across a week or so in selected cinemas. I have heard arguments that this is a positive move because it gives the possibility of a specialised film becoming available at cinemas across the UK. That may be so and as a concept it goes back to the beginnings of digital cinema in the UK as something similar was suggested as part of the first round of subsidised digital cinema projectors instigated by the UK Film Council in the 2000s. Even so, it works against the idea of local programming and strategies which attempt to grow a local audience through ‘word of mouth’ screenings. There were 10-12 people in the cinema when I saw this film. Perhaps there would only have been three or four if it was showing two or three times this week, but I’d like to think that with good reports the audience for this and similar films could be grown. Instead, Picturehouses is using those other possible programme slots to show Independence Day and Absolutely Fabulous and if you can’t get to a screening on Tuesday at 18.00, then specialised cinema is not for you. So, I guess you’ll have to look for Évolution online.
Ich seh, Ich seh finally arrives in the UK as Goodnight Mommy after opening at the Venice Film Festival in 2014 and getting a release in several major territories in 2015. It hasn’t got much of a UK release (25 screens) with little promotion that I’ve seen from Vertigo. Yet, here is a beautifully-crafted film which surely has the potential to be a cult success. Its problem, perhaps, is a visual aesthetic that suggests art cinema and a number of narrative devices and generic tropes that suggest horror or psychological thriller. Inevitably, because it is Austrian, critics have made references to Michael Haneke and to potential metaphors about a Nazi past – possibly because the opening includes a colour film extract from what might be footage of the Von Trapp family singers. More importantly though, the film is produced by the other Austrian auteur, Ulrich Seidl and the co-directors and co-writers are Severin Fiala and Veronika Franz – Seidl’s nephew and partner. Franz has worked on Seidl’s films such as Import/Export (Austria 2007) and the Paradise trilogy (Austria 2012-13). Already it is clear that some horror fans are delighted with the film and others dismiss it – and at the same time, some audiences have problems with the clinical presentation. John Patterson in the Guardian uses The Babadook (Australia 2014) as a reference point – I’m not sure the tone of the two films is similar, but certainly there are some elements that are shared.
Outline (No spoilers)
The film relies on audience interpretations, playing with ‘reveals’ of narrative information – so many of the reviews risk spoiling the narrative. I’ll simply describe some of the things we see. Two boys of around 10 years old are playing in the countryside. Lukas and Elias are near identical twins, although one appears slightly smaller/skinnier than the other. They eventually return to a modern and stylish house on the edge of the forest. Their mother has her face heavily bandaged as if she has had cosmetic surgery or has been in an accident. She seems to treat the boys quite coldly with firm discipline. The boys react with disobedience and they begin to suspect that this woman is not their mother or that she has changed. A narrative of conflict develops. The film has only a few other marginal characters who visit the house and the boys take a trip into the nearest town, otherwise the action is confined to the house, the forest and the surrounding countryside. There is a resolution to the conflict and, in narrative terms, the film is a generic horror film/psychological thriller with possible narrative twists.
For me, the film draws on several classical tales and some well-known horror films. The scenario is in some ways reminiscent of The Others (Spain/US 2001)/The Innocents with a mother figure and children. The physical resemblance between the boys did confuse me and the fact that they are blond, ‘pretty’, intelligent and athletic/strong made me think of the Village of the Damned (UK 1961). When they wore home-made masks I thought about the out of control boys in Lord of the Flies. None of these film references imply anything beyond the fact that the visual style creates an atmosphere, a tone that is unsettling and that the presence of children in a scenario like this can easily shift from the domestic to the disturbing. I’m not sure about the suggested metaphors about Austria’s past, but certain images – of the forest, hide and seek in a field of maze, burning stubble after harvesting wheat (is burning stubble allowed in Austria?), a deserted town street, a dark lake etc. – do have a sense of foreboding or at least a hint of something that could go wrong. It is the expert handling of these images and the creation of ‘disturbance’ that works so well in the film. Later the conflict between the mother and the boys intensifies and becomes violent. I watched one sequence through my fingers because I’m squeamish, but I didn’t find the violence to be gratuitous.
I admired the film for both its craftsmanship and its creativity but I’m still not sure about its narrative. I was still puzzling over what might have happened hours later. There is already a complex internet discourse about what actually happens in the narrative and what is implied as having happened earlier. I would recommend the film and I wish it was getting more exposure.
The ‘lobby card’ for this film reads,
Strange things are afoot in Bad City. The Iranian ghost town . . .
In fact the film was shot in the USA, with funding from Sundance, and the settings look as much like downtown Detroit as any urban area in Iran. The film has enjoyed good reviews from a number of quarters and has a catching trailer. However, ominously, it is also rather flashy. Which would be my single word summation for the film.
It runs for 101 minutes, though it seemed longer to me. The plusses are black and white cinematography, which, at time, is very good. And the pitch for the film is intriguing. Variety sums up as follows:
[This] debut feature spices its genre stew with elements of Lynchian neo-noir and even spaghetti Western.
This is true, though my sense of the film was that it relied heavily on borrowings from earlier films. Not just those suggested above but Jim Jarmusch’s recent Only Lovers Left Alive (2013) and the animated Persepolis (2007).
The plotting struck me as undynamic. And the style, whilst at times eye-catching, does not add to the brew. The techniques in the film appear to have been used rather haphazardly. To give one example, the use of deep focus. This technique depends on lenses, focal distances and lighting, but when well done can be very effective. In this film early on there is a scene with deep staging, but it is in shallow focus: not very helpful. Yet later in the film we get deep focus when the characters are in the foreground and there is an impressive palace in the back ground. The latter relies on CGI, which affects the technique. But I sense that the filmmakers did not really notice this discrepancy.
The Guardian review awards the film four stars. It also mentions another film directed by an Iranian-US citizen, Appropriate Behaviour (2014): a far superior offering. The review ends with
It’s a film with bite.
I reckon you can say that about all vampire movies, but some have sharper fangs.
Apart from co-productions, I think I’ve only seen one other Venezuelan film and that was at a festival. All credit then to Matchbox films, the distributor of the UK DVD released today, 27th April. In some ways very familiar, this is actually quite a complex and unusual film. Ostensibly a distinctly Hispanic Gothic ‘haunted house’ story, the title reveals that there is also a ‘time’ dimension which adds a further element to the mix.
The central character is Dulce (played by Ruddy Rodriguez), a mother with two young boys living with a man who is the father of the younger child. The narrative begins in 1981 when Dulce is arrested for the murder of her partner in circumstances she doesn’t really understand. Thirty years later she is released from prison but held under house arrest in the same old house. Where are her two sons? By constantly moving between 1981 and 2011 the story is gradually revealed. This ‘reveal’ also requires an ‘investigator’, here a young priest. Added to the Catholic discourse is a visit from a medium and a spirit guide drawn from Venezuela’s African and indigenous cultural mix. The priest will discover that the house has a history and that previous families who lived there also had problems.
At the beginning of the film I felt that there was something odd about the aesthetics of the film and for the first few minutes I wasn’t sure if this was meant to be Spain or Latin America (I hadn’t checked before sticking the DVD in the player). The haunted house and the female-centred family melodrama have been explored in several high profile Spanish films including El orfanato (2007) but I sensed rather than saw directly links to Mexican horror films like Kilómetro 31 (2006) or in the case of the spirit guide, aspects of Cuban cinema and Santería (a religious tradition found across Cuba and Venezuela). Another Cuban link and the first indication that confirmed Latin American cinema for me was the importance of baseball.
I can’t imagine that first time producer-writer-director Alejandro Hidalgo had much of a budget to play with but he handles the complex shifts in time and the repetition of sequences from different perspectives very well. The house itself is a great setting and although the pacing and use of music teeters on the edge of constant portentousness, he manages to keep control and deliver. Looking at the comments from various horror fansites the film has gone down well with its intended audiences. If I have a criticism it’s that I would like to have found out more about the early history of the house, but really the story is complex enough and the closing sequences spring some surprises and twists. I hope the film finds its audience in the UK.
Official trailer (US?):