Previewed at 35Torino Film Festival in the section After Hours, The Lodgers It is an interesting horror directed by Ireland's Brian O'Malley.
The story of Rachel and Edward, twins just come of age, that, orphaned several years before, They are living alone in the big house that belongs to their family for decades. Their parents, as well as their grandparents, their great-grandparents and so on,
They were also twins and, through incestuous relationships, They gave birth in turn to new generations, only to die suicide, drowning in the pond in the garden of the house. Eager to his own life and to break this sort of curse that seems a prisoner with his brother, Rachel one day will the knowledge and fall in love Young Sean, veteran who lives the conflict has lost a leg. Only he can help the girl to escape and evade, then to his already doomed. We must come to terms, But, with the ghosts of the ancestors, which seem opposed to end their race.
As the same O'Malley said, This feature its successful mainly draws in important works of the past as The Others - Direct in 2001 Alejandro Amenabar - o The Hunger, masterpiece 1983 the late Tony Scott. and yet, given the presence of the twins - element that is well suited to the kind and, in this specific case, is excellently run by the O'Malley thanks to details of the two brothers and gestures mirror mounted alternately - immediately comes to mind the beautiful - but unfortunately little known in Italy - Goodnight Mommy, direct in 2014 by Veronika Franz (Ms. Seidl, to speak) e Severin Fiala.
They are the two well-characterized protagonists, the majestic but disturbing Villa - treated as a real co-star - the element of water as a symbol of death and rebirth and the gloomy atmosphere that, together with a clever design and a clean, linear script enough, make The Lodgers one of the most interesting features of the aforementioned Turin section.
And then, like every work gender-respecting, He could not miss even a (not too much) veiled criticism of society and, mostly, a strong (and justified) nationalism. Particularly significant, about that, the stop pronounced by the same Rachel, When - in turn to a tax collector who had just said they faced a long journey from the mainland to visit the boys - he said: "It's this one, for us, the mainland!”. Symbol, this, a never dormant rivalry with neighboring Britain and, equally, wanting to remain in the purely artistic field, the will to claim the value of a film like the Irish who, for years, does that give us interesting and pleasant surprises.
marina fears