But Snook is fast developing her own brand of sublimated aggression – a sense that lava runs beneath chilly flesh.
Both can wind vulnerability in with strength. It comes as no great surprise to learn that Elisabeth Moss, who worked with Reid on The Handmaid’s Tale, was initially cast in the role. Horror in the Australian wilderness is always boosted by our awareness every pothole houses something that could kill you The theme is not over-stressed, but one can’t help but wonder if – in such a fictional universe – it is wise to strive so hard at sustaining procreation. In this tale of horrors connected via parental tendrils, it is a nice touch to have the character work as a doctor specialising in fertility. She accuses her mother of being inadequate.Īs the film progresses, Snook’s open features reveal as much about her inner journey as do flashbacks to an initially obscure tragedy.
She claims to miss the grandmother she has never met. Her own daughter Mia (Lily LaTorre) is exhibiting the sort of behaviour that would remind parents of horror films even if they were not themselves in a horror film. She is estranged from a mother in care (the always welcome Greta Scacchi). Sarah Snook, shooting on a Succession hiatus, turns up as another Sarah – a character bombarded by reminders of miseries handed through the generations. It is more unsettling still when he or she – most often she – unconditionally loves them despite their scary staring.ĭaina Reed’s fetid Australian chiller, which premiered at Sundance after being picked up by Netflix, plays a little like a compilation of tropes from those interlocking genres.
It is frightening when the protagonist distrusts the little devils. In recent years, the paedophobe strand has run parallel with more explicit unease about the pressures of parenthood.įilms such as Hereditary and The Babadook ride on waves of guilt and neurosis.
Those wee feckers have been glaring maliciously through greasy windows since the silent era. The scary, starey child has a long and distinguished history in cinema of the macabre.
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