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Nightmare in hell
Saturday, July 14, 2018
By Ascanio Cavallo
Diary
El Mercurio
About or since The Texas Mbadacre (1974) There are more than forty years, the horror cinema has embarked on a dizzying competition for the bloodiest murders, the sharpest images of saws, cuts and punctures, something similar to what s & # 39; 39, is pbaded in the West. the blood of Sergio Leone. The kind of terror has persisted because it is steeped in an endless feeling, while the western died when the civilizing imagination was extinguished. And we are.
In this film, full expression of endless terror, a sister hates herself with another sister, which could be the foundation of a fratricidal gang. But then these sisters love, not because they stopped hating themselves, but because the fratricide is suspended (or perhaps sublimated, transferred, or what one chooses to choose in the Freudian language with which these films are usually tackled) by the intervention of one the strength of others, or at least symbolically strange: a couple of psychopaths who, when they were girls, entered their sinister house to make a quarter of blood.
The original title of the film calls him "incident". The mansion has its importance: it is so improbably sinister that even the mother is allowed to compare it with "Rob Zombie's house" (rare cinfila reference to one of the worst filmmakers of the genre). And the "incident" occurs just minutes from the beginning of the story, which is like an badault, a sudden attack on the viewer, one of the sights of Nightmare in Hell. But this is only an interpretation, because nothing is further from this film than the intention of clarity. Everything is filmed so that you can not see clearly, so that you do not understand much and, most importantly, ignore the following maneuver.
This maneuver is a 16-year leap, after which the pessimistic and unsuccessful sister calls the bright and successful sister back to the accursed mansion. The successful sister, who managed to write a novel at the height of his admired H.P. Lovecraft, does what no one in his good sense will do: return to the manor of his adolescence where he has spent so badly. But the genre has long adopted protagonists who do what they should not do.
Psychopaths who sell sweets and play with faces also form legin in genre cinema. These are a little worse, because of their ferocity and their omnipresence, and especially because they lack project: only to mistreat, punish, torture.
Director Pascal Laugier, hailed by two previous mbadacres, such as Mrtires and El hombre de las Shadows, is Canadian, but, unless we recognize the landscapes of Manitoba, this can happen everywhere where there is a terrifying dark house insensibly isolated in a forest. And where there are unreasonable people who will live in
Incident in a Ghostland
Address:
Pascal Laugier.
With: Crystal Reed, Mylne Farmer, Phillips Anastasia, Emilia Jones, Taylor Hickson, Kevin Power.
91 minutes.
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