HIDDEN IN THE WOODS/ EN LAS AFUERAS DE LA CIUDAD (2012 Spanish Language Version)
This film was a Grimm-like fairytale horror-crime story with a big nasty injection of wicked humour. It's no surprise Hollywood has already snapped up a remake from the original director (currently in development).
Hidden in the Woods earned a long round of applause at its Frightfest 2012 screening. A cross between Lucky McKee's The Woman, Tarantino's Reservoir Dogs and Robert Rodriguez's From Dusk Till Dawn (without the vampires!), it featured lush and vibrant cinematography of Chilean locations and a pounding country/blues-rock score mixed in with gorgeous, atmospheric piano and appropriately synthy gloom. Ominous sound effects also punctuated the action, in the best Lynchian tradition.
The men were scumbags, drug dealers and earned delicious revenge at the hands and teeth of the two sisters who had been kept captive since birth by their brutal father, himself at the mercy of the local drug baron who, in the film's climax, comes looking for them all, and the missing stash of drugs. The dad had allowed the local crimelord (with white twirly beard and luxury villa and two daughters kept in comfort and wealth, compared to the lives of the family we follow whose lives he has ruined) to rape his own wife and possibly his daughters too (something the dad himself was also prone to attempting, in scenes that were not shown in any detail).
The rape scenes here were the cause of some controversy at Frightfest, understandably, and they are upsetting but brief, shot frenziedly and not lingering at all. I also felt they had purpose within the plot to create this montrous father figure, demonising him to the extent that the eventual revenge felt all the more sweet. But they were hard scenes to get through, and less sanitised -rightly - than Hollywood's usual salacious version of the same awful crime.
The Dad; the monster - all hairy of body and thick of muscle, was the 'ogre under the bridge', with his two daughters' 'trip, trip, tripping footprints' above - the beast that could burrow out of soil with his bare hands. The best movie monster since Karloff did Frankenstein.
Regarding accusations of misogyny from some critics towards the film, I can only report back that the usherette I sat next to (I was on the aisle seat, she was perched on the stairs.. at least I hope she was an usherette and not something more sinister) munched sweets and chuckled throughout the screening (actually, beginning to think she was definitely something more sinister now!) and there was also a question from a young female fan at the Q&A after the movie to the director that started with her saying how much she loved the movie and the bloody ending (that was very reminiscent of a sprawled Tim Roth from Reservoir Dogs, with most of the cast writhing on a slick of their own blood on the tiled floor of the local drug baron's villa while shooting at each other at close range) and even said she found the film 'sexy' - well, the scene between one of the daughters and the married man in the motel room was a rare moment of fairly consensual steaminess and the two girls did ooze a certain sexuality when chasing through the jungle after the poor henchmen of the local drug baron who didn't know what was about to hit them between the legs!
Within the Woods was an unnerving, unexpected, vibrant, hip, very bloody, gun-toting, great-Grimm fairy tale of a gangster movie with horror edging, that I think will result in more head-swirling films from this young director, Patricio Valladares - who is clearly a real, unpredictable talent to witness and wait for.
Valladares hinted at Frightfest that future films will be more crime based, less horror. Which is (when you take away such dreamlike, surreal additions as the feral cannibal brother kept locked up in a room by Dad and released by the sisters) what this film is at heart; a really quite brutal but sly crime movie in a heady, nightmarish, adult fairytale setting. It's a genre all to itself. It's what a Frightfest film should be.
mark gordon palmer
This film was a Grimm-like fairytale horror-crime story with a big nasty injection of wicked humour. It's no surprise Hollywood has already snapped up a remake from the original director (currently in development).
Hidden in the Woods earned a long round of applause at its Frightfest 2012 screening. A cross between Lucky McKee's The Woman, Tarantino's Reservoir Dogs and Robert Rodriguez's From Dusk Till Dawn (without the vampires!), it featured lush and vibrant cinematography of Chilean locations and a pounding country/blues-rock score mixed in with gorgeous, atmospheric piano and appropriately synthy gloom. Ominous sound effects also punctuated the action, in the best Lynchian tradition.
The men were scumbags, drug dealers and earned delicious revenge at the hands and teeth of the two sisters who had been kept captive since birth by their brutal father, himself at the mercy of the local drug baron who, in the film's climax, comes looking for them all, and the missing stash of drugs. The dad had allowed the local crimelord (with white twirly beard and luxury villa and two daughters kept in comfort and wealth, compared to the lives of the family we follow whose lives he has ruined) to rape his own wife and possibly his daughters too (something the dad himself was also prone to attempting, in scenes that were not shown in any detail).
The rape scenes here were the cause of some controversy at Frightfest, understandably, and they are upsetting but brief, shot frenziedly and not lingering at all. I also felt they had purpose within the plot to create this montrous father figure, demonising him to the extent that the eventual revenge felt all the more sweet. But they were hard scenes to get through, and less sanitised -rightly - than Hollywood's usual salacious version of the same awful crime.
The Dad; the monster - all hairy of body and thick of muscle, was the 'ogre under the bridge', with his two daughters' 'trip, trip, tripping footprints' above - the beast that could burrow out of soil with his bare hands. The best movie monster since Karloff did Frankenstein.
Regarding accusations of misogyny from some critics towards the film, I can only report back that the usherette I sat next to (I was on the aisle seat, she was perched on the stairs.. at least I hope she was an usherette and not something more sinister) munched sweets and chuckled throughout the screening (actually, beginning to think she was definitely something more sinister now!) and there was also a question from a young female fan at the Q&A after the movie to the director that started with her saying how much she loved the movie and the bloody ending (that was very reminiscent of a sprawled Tim Roth from Reservoir Dogs, with most of the cast writhing on a slick of their own blood on the tiled floor of the local drug baron's villa while shooting at each other at close range) and even said she found the film 'sexy' - well, the scene between one of the daughters and the married man in the motel room was a rare moment of fairly consensual steaminess and the two girls did ooze a certain sexuality when chasing through the jungle after the poor henchmen of the local drug baron who didn't know what was about to hit them between the legs!
Within the Woods was an unnerving, unexpected, vibrant, hip, very bloody, gun-toting, great-Grimm fairy tale of a gangster movie with horror edging, that I think will result in more head-swirling films from this young director, Patricio Valladares - who is clearly a real, unpredictable talent to witness and wait for.
Valladares hinted at Frightfest that future films will be more crime based, less horror. Which is (when you take away such dreamlike, surreal additions as the feral cannibal brother kept locked up in a room by Dad and released by the sisters) what this film is at heart; a really quite brutal but sly crime movie in a heady, nightmarish, adult fairytale setting. It's a genre all to itself. It's what a Frightfest film should be.
mark gordon palmer