Greetings again from the darkness. Horror films tend to serve up relatively simple plot points so that viewers are controlled by emotions rather than deep thinking. The exceptions typically use multiple story lines and atmosphere to build up suspense that often ends with a twist or surprise ending. You might recognize Ramola Garai as an actress from SUFFRAGETTE (2015) or the TV series "The Hour", and this is her first feature film as writer-director. She definitely chose the latter plot path, and the result is likely a film that will be divisive amongst the horror crowd.
Tomaz (Alec Secereanu, GOD'S OWN COUNTRY) is a former soldier with such a horrid case of PTSD that he must bind his own hands when he sleeps. He's now homeless and adrift, merely surviving day-to-day. We see flashbacks to his time as a soldier working a checkpoint deep in the forest. The war is never identified, but one day he decides to help a frantic woman (Angelika Papoulia) rather than shoot her (as we assume his orders dictate). This story and their time together pop up periodically through the movie to the point where we start to believe we have an understanding of Tomaz's background.
While squatting with other homeless folks, the building where they sleep catches fire, and soon after Tomaz is taken in by Sister Claire (Imelda Staunton), a caring nun who gives him a purpose - helping out a woman who is dealing with a sick, elderly mother. Magda (Carla Juri) seems withdrawn and initially not particularly happy that Tomaz is living in her house. And, oh my, that house. Dilapidated is too kind as a description. So in addition to a bed, and Magda's cooking, Tomaz begins repairing the house. And while you may have your own renovation stories to tell, did you ever pull an albino bat out of the toilet? Tomaz has.
Magda does not allow Tomaz to see her mother. He (and we) only hear the confrontations and see the bite marks on Magda's arms. Clearly something is amiss. The flashbacks to Tomaz as a soldier with Miriam make for a stark contrast between the forest and Magda's creepy house. It's in the forest where Tomaz finds the titular amulet buried. If you've always thought of an amulet as a good luck charm, your definition will likely change.
It's interesting to watch the shifts in the relationship between Tomaz and Magda, culminating with a night out dancing, where she reminds us a bit of Elaine Benis at the company party ... although Magda's is a pure emotional release, rather than a comedic effect. As you might expect, the film is at its best when Imelda Staunton is on screen. Unfortunately, these moments are too rare. The "old school" gothic graphics for the opening credits do make for a terrific stage-setter. While Magda's locked-away mother provides some mystery, the tension of the story never really matches the creepy atmosphere of the house. Ms. Garai includes some excellent moments of horror images, but the deliberately slow pace doesn't deliver a satisfying payoff.
Tomaz (Alec Secereanu, GOD'S OWN COUNTRY) is a former soldier with such a horrid case of PTSD that he must bind his own hands when he sleeps. He's now homeless and adrift, merely surviving day-to-day. We see flashbacks to his time as a soldier working a checkpoint deep in the forest. The war is never identified, but one day he decides to help a frantic woman (Angelika Papoulia) rather than shoot her (as we assume his orders dictate). This story and their time together pop up periodically through the movie to the point where we start to believe we have an understanding of Tomaz's background.
While squatting with other homeless folks, the building where they sleep catches fire, and soon after Tomaz is taken in by Sister Claire (Imelda Staunton), a caring nun who gives him a purpose - helping out a woman who is dealing with a sick, elderly mother. Magda (Carla Juri) seems withdrawn and initially not particularly happy that Tomaz is living in her house. And, oh my, that house. Dilapidated is too kind as a description. So in addition to a bed, and Magda's cooking, Tomaz begins repairing the house. And while you may have your own renovation stories to tell, did you ever pull an albino bat out of the toilet? Tomaz has.
Magda does not allow Tomaz to see her mother. He (and we) only hear the confrontations and see the bite marks on Magda's arms. Clearly something is amiss. The flashbacks to Tomaz as a soldier with Miriam make for a stark contrast between the forest and Magda's creepy house. It's in the forest where Tomaz finds the titular amulet buried. If you've always thought of an amulet as a good luck charm, your definition will likely change.
It's interesting to watch the shifts in the relationship between Tomaz and Magda, culminating with a night out dancing, where she reminds us a bit of Elaine Benis at the company party ... although Magda's is a pure emotional release, rather than a comedic effect. As you might expect, the film is at its best when Imelda Staunton is on screen. Unfortunately, these moments are too rare. The "old school" gothic graphics for the opening credits do make for a terrific stage-setter. While Magda's locked-away mother provides some mystery, the tension of the story never really matches the creepy atmosphere of the house. Ms. Garai includes some excellent moments of horror images, but the deliberately slow pace doesn't deliver a satisfying payoff.