Beautiful surreal imagery, gruesome violence and dark atmosphere dominate the first and last ~5 minutes of the film.
I will not go into detail as to what happens inbetween but it would make your skin crawl in a different movie. Here, it is neither staged in gruesome detail nor cleverly implied, nor is the protagonist's emotional reaction to her mistreatment of particular interest to the film maker. The normalcy of it all and her overall numbness could in themselves be horrifying, but a thin plot about human pets, off-screen mass-murder and familial conflict keeps us from really getting to know Martha.
For the most part this was a disappointment and yet my interest in the work of Karim Ouelhaj is piqued. Those few minutes of genius bookending the film speak to a strong personal sense of style, the mark of a horror auteur.
On an overwhelmingly positive note: the noisy industrial soundtrack, especially the piece that plays during the end credits, is excellent. I do hope Karim embraces his more poetic tendencies and collaborates with Gary Moonboots on another film.
I will not go into detail as to what happens inbetween but it would make your skin crawl in a different movie. Here, it is neither staged in gruesome detail nor cleverly implied, nor is the protagonist's emotional reaction to her mistreatment of particular interest to the film maker. The normalcy of it all and her overall numbness could in themselves be horrifying, but a thin plot about human pets, off-screen mass-murder and familial conflict keeps us from really getting to know Martha.
For the most part this was a disappointment and yet my interest in the work of Karim Ouelhaj is piqued. Those few minutes of genius bookending the film speak to a strong personal sense of style, the mark of a horror auteur.
On an overwhelmingly positive note: the noisy industrial soundtrack, especially the piece that plays during the end credits, is excellent. I do hope Karim embraces his more poetic tendencies and collaborates with Gary Moonboots on another film.