Director Claudia Llosa returns to form with a woozy work about a cosy domesticity in rural Argentina shattered by uncanny intruders
After making high-arthouse awards-magnet The Milk of Sorrow in her native Peru in 2009, director Claudia Llosa stumbled in 2014 with her first English-language feature, Aloft which, despite its title, failed to take flight. And while seven years isn’t that long a time between films these days in the world of indie cinema, Fever Dream, feels like a return from a distant wilderness. Distribution via Netflix after a premiere at the San Sebastián film festival and short cinema run may be a decent strategy for this future cult classic – it’s a film that plays remarkably well on TV screens, especially if viewed alone late at night, as it’s all about a cosy domesticity that’s suddenly cruelly pierced by uncanny intruders.
Set in rural Argentina although apparently shot in Chile,...
After making high-arthouse awards-magnet The Milk of Sorrow in her native Peru in 2009, director Claudia Llosa stumbled in 2014 with her first English-language feature, Aloft which, despite its title, failed to take flight. And while seven years isn’t that long a time between films these days in the world of indie cinema, Fever Dream, feels like a return from a distant wilderness. Distribution via Netflix after a premiere at the San Sebastián film festival and short cinema run may be a decent strategy for this future cult classic – it’s a film that plays remarkably well on TV screens, especially if viewed alone late at night, as it’s all about a cosy domesticity that’s suddenly cruelly pierced by uncanny intruders.
Set in rural Argentina although apparently shot in Chile,...
- 10/7/2021
- by Leslie Felperin
- The Guardian - Film News
A frightened young mother named Amanda (Maria Valverde) is being dragged on her back through a dark marsh. Worms — worms that are everywhere inside the body. “You have to understand what’s important,” the pre-teen David (Emilio Vodanovich) invisibly whispers into her ear canal. “Where’s my daughter?” Amanda asks. That’s not important. Beautiful Carola (Dolores Fonzi) leaning her head out of a car window, her curled blonde hair catching in the wind. A slow river seeps by into everything it touches. You have to pay attention to the details. Horses breeding and dying. Souls in flight.
Adapted from Samanta Schweblin’s 2014 novel of the same name, ; it’s a cold shiver of a film that doesn’t unfold so much as it sweats out, the most effective scenes febrile with maternal panic so intense that you can feel the movie hovering between life and death — allure and repulsion.
Adapted from Samanta Schweblin’s 2014 novel of the same name, ; it’s a cold shiver of a film that doesn’t unfold so much as it sweats out, the most effective scenes febrile with maternal panic so intense that you can feel the movie hovering between life and death — allure and repulsion.
- 9/21/2021
- by David Ehrlich
- Indiewire
IMDb.com, Inc. takes no responsibility for the content or accuracy of the above news articles, Tweets, or blog posts. This content is published for the entertainment of our users only. The news articles, Tweets, and blog posts do not represent IMDb's opinions nor can we guarantee that the reporting therein is completely factual. Please visit the source responsible for the item in question to report any concerns you may have regarding content or accuracy.