TIFF 2024 bonus episode 1: body horrors

[00:00:01] is a mini-serence.

[00:00:12] Hello and welcome to a special bonus episode here on Movie Oubliette, Conrad here reporting

[00:00:19] from the Toronto International Film Festival which I'm visiting for the first time, but luckily

[00:00:24] I have an expert here with me.

[00:00:27] Hello, this is Joel upset from the horror queries and occasional guest here on Movie Oubliette.

[00:00:34] Yes and I couldn't have had a better guide to Toronto and the festival because this

[00:00:38] is how many years have you been coming to the festival now?

[00:00:41] Oh gosh, I think I'm maybe at your 10 now.

[00:00:46] So it's been a while.

[00:00:48] So you're the veteran on the rookie but I've had a lot of fun.

[00:00:51] Oh good, yeah I think you've seen some pretty good representative TIFF style films.

[00:00:58] Yeah, I could mix of stuff of course we will focus here on our favourite genres, sci-fi

[00:01:03] horror and fantasy.

[00:01:06] And in this episode we thought we'd look at a clutch of body horror movies.

[00:01:10] Hello and welcome to Body Horror!

[00:01:12] So much it's I'm always fascinated when we see these kind of recurring themes and you

[00:01:17] could meet to this earlier this week when you said, I feel like I just keep seeing people

[00:01:22] grappling with body horror and you know, very exciting it's kind of having a moment but

[00:01:28] a lot of women centered body horror.

[00:01:31] Yeah so three two of them very buzzy titles I think.

[00:01:35] So the substance I think is the mothership.

[00:01:39] Yes so this is the new film by Corly Farjay so she directed revenge.

[00:01:44] I want to see back in 2017 so it's been a while waiting for the sophomore effort but

[00:01:49] this is a big one right?

[00:01:51] This is a demi more Margaret Qualey very buzzy.

[00:01:54] It's got a great ad campaign.

[00:01:57] Hmm and what I love about the ad campaign and seeing the eventual movie is that the

[00:02:01] ad campaign has such a striking visual and audio style and sometimes because that's been

[00:02:08] created by an ad agency or people that specialise in traders you go and see the movie

[00:02:12] it doesn't have that flavor at all.

[00:02:14] Yes this movie is that trailer.

[00:02:18] Absolutely.

[00:02:19] No you're absolutely right and I have insider information that I know Farjay is actually

[00:02:25] very hands on so I think what you're seeing is her vision being reflected in the marketing

[00:02:31] campaign she wants to make sure that it is emblematic of the film she has made.

[00:02:36] Well they absolutely nailed it.

[00:02:38] So we are watching demi more and probably a career defining performance or certainly

[00:02:45] a sort of renaissance defining performance for an actor who'd sort of fall

[00:02:50] an out of the limelight for a few years I would say.

[00:02:54] Yeah I really want to say that the last time people saw her in a significant capacity was

[00:02:59] probably the second Charlie's Angel film.

[00:03:02] Yes.

[00:03:02] And that's a while ago.

[00:03:03] It is.

[00:03:04] But you're absolutely right.

[00:03:05] I mean she's in full superstar mode here and I love that you know she's almost playing

[00:03:11] off a public persona because she the character that she's playing is this mega successful

[00:03:17] Jane Fonda Esk workout video, Nathan.

[00:03:21] She's built a complete empire but it's been decided by a very

[00:03:27] ledgerous and disgusting looking dentist quade that she is over the hill and she needs to be

[00:03:35] she does yeah dentist quade playing a character called Harvey which I don't think is a

[00:03:41] mistake.

[00:03:42] Nope not at all there's nothing subtle about this movie not at all no the visual style you see

[00:03:47] in the trailer is evident throughout the film and quade is presented in a way that makes him

[00:03:52] utterly repellent it's the most unflaughtering performance I've ever seen camera angles everything

[00:03:59] he is made to look like a consuming monster yeah they're really disgusting and it's

[00:04:06] actually that's how this role was originally going to be played by Ray Leoder before he passed

[00:04:11] and he was a quick go.

[00:04:14] He would have been amazing yeah but quade is good too he's also really good yeah

[00:04:19] because usually he's so likable so this is quite fun so he'll be so revolting yeah

[00:04:25] but I'm wonder cornered in case people don't actually know what the substance is about what is

[00:04:31] the lag line for this movie. So essentially you get the sense of it in the trailer which is that

[00:04:36] to me more as character decides to take up this very secretive experimental treatment

[00:04:44] that will give her the opportunity to experience youth and beauty or the most perfect version

[00:04:51] of herself yes and although it's not made clear in the trailer what the mechanics of that are

[00:04:55] when you watch the film was interesting about it is that they are sort of symbiotic yes so they

[00:05:02] are two separate entities it's not that her body changes herself she lies dormant for a week a week

[00:05:11] while the perfect version of herself lives sort of a version of her life and then it

[00:05:17] also suffers the same character no and that was the thing that was the most interesting to me

[00:05:23] that the marketing had not revealed you know I very much thought okay so we're gonna do body

[00:05:29] transformation it's gonna be demi more turning into marker qualy and vice versa and it's not

[00:05:34] at all they're they're two completely separate entities except for the fact that they are constantly

[00:05:39] reminded by this you know baseless corporation you are one so they are beholden to each other to make

[00:05:46] this work and of course the conflict in the tension in the film comes about when one of them

[00:05:52] starts to get a little more greedy and tries to buy out some extra time yes which has terrible

[00:05:58] consequences yes for the upper person and fantastic consequences for the audience because this

[00:06:05] film is disgusting yes and largely practical apart from a few places all digitally enhanced practical

[00:06:15] effects so it is wonderfully gloopy and revolting yes reminded me very much of brand-year's

[00:06:23] an a society which oh I think was the very first thing we ever did on movie ubeet oh so yeah it's

[00:06:31] standing on the shoulders of that I would say yeah it's revolting and shocking and ghost places

[00:06:38] that you would never imagine it would go but all with a sense of glee I mean the audience I was

[00:06:44] roaring with laughter frequently yes yeah it's it's very very funny as I said it's not subtle at

[00:06:53] all but in terms of satire it is wickedly sharp like this is I think Farjah is on record as

[00:07:01] saying she made this movie and she was very angry and she wanted people to feel it and I will say

[00:07:08] it's not an unpleasant viewing experience because it is so candy colored and just you know watching

[00:07:14] Margaret Quayley and Demi Moore just kind of chip away at each other is incredibly satisfying

[00:07:20] but you very much understand that this is actually all anger directed at men yes the men are just these

[00:07:29] comical caricatures of disgusting letcherous youngsters there is not a single redeeming character in

[00:07:37] the entire movie here is male I don't think no no but it's also quite an isolated film in a lot

[00:07:44] of ways like we're really watching these two women struggle to find the balance when they have their

[00:07:51] time it's very interesting because Margaret Quayley's character gets to go and be the shining pop star

[00:07:57] of the moment right so there's a lot of montage of her with her workout assistants going through

[00:08:04] the routines and her her star is ascending and she's living this glamorous life and then Demi Moore

[00:08:10] kind of gets the um Requim for Dream Treatment where she just kind of debases herself and gets into all

[00:08:19] kinds of grotesquey but both actresses just dive into these roles with relish like I would be very

[00:08:27] surprised if well I think Demi Moore for sure is going to get a walk on a best actress nomination

[00:08:32] oh should but I would be surprised that the film doesn't end up garnering a lot of awards

[00:08:38] attention yeah no it should because it is most definitely tapping into what are the biggest

[00:08:44] talking points of our times just sociologically and yeah it is such a fever dream and such a

[00:08:52] bright burning anger that drives it I think the defining image of it for me from the trailer

[00:08:57] is Demi Moore looking at herself in the mirror having spent once you've seen the movie

[00:09:03] a long time working on her makeup to try to compete with this younger version of herself

[00:09:08] that's out there and just the way that she looks at herself with pure rage and hatred and

[00:09:14] smears the lipstick across her face is yeah I think any number of shots could be printed out

[00:09:22] put on people's walls because they are just so beautifully stylized and I will say you know we

[00:09:28] talked a little bit about the body horror but there is some absolutely disgusting gross enjoyable stuff

[00:09:34] in here I will say I'm someone who does not enjoy needles right cannot handle needles and this

[00:09:41] film was an incredibly challenging watch yeah but I guess the other issue is that for some books

[00:09:48] this movie may be a little too long so it is clocking in at about two hours and 20 minutes

[00:09:53] it is yeah and I felt it and I think once the battle between the two women was kind of played out

[00:09:59] that reached a climax it felt as though the movie just derailed into 20 minutes of excess yeah

[00:10:06] but the trouble is that I wouldn't want to miss that excess because it's so wonderful but at the

[00:10:11] same time it does feel as though it's unmoored itself from its central premise at that point yeah

[00:10:16] there's definitely a dip before you get the extreme payoff but the payoff is so good that

[00:10:23] it's almost undeniable yeah exactly yeah so I think that is probably one of the titles

[00:10:28] that people were most excited about coming into the festival and I certainly enjoyed watching it

[00:10:33] on day one hundred percent it's it's starting the festival on an absolute high yeah

[00:10:39] by contrast there was another film that is rather similar called Shell which I was interested in

[00:10:48] seeing it's got Elizabeth Moss and Kate Hudson is directed by Max Minkello and it's a very similar

[00:10:55] premise it's aging star using experimental techniques secretive with a corporation that's headed

[00:11:05] up by Kate Hudson doing her very best goal be horned from death becomes her impersonation.

[00:11:11] Yes and yeah this one just pales by comparison it's so unfortunately it came at the same

[00:11:18] festival came at the same time. Yeah the premise and even the kind of women competing for the

[00:11:24] attention and the affection and the even just acceptance of men is definitely identical across

[00:11:32] the two titles I think it shows that it's directed by a man Minkello isn't bad but he doesn't

[00:11:40] have the same kind of lourish that Farjay has so this feels a little bit more pedestrian but one of

[00:11:48] the things that I'm very curious we've not seen a trailer for this so we saw a still image of the two

[00:11:53] actresses and then the log line and that's why we decided to check it out it's actually quite a bit

[00:11:59] earlier than I expected there was a piece in the Hollywood reported that clarified they wanted to just

[00:12:05] make an entertaining film and it feels like a throwback to a kind of lifetime 90s movie

[00:12:14] and for the most part that's actually quite effective I just wish that it had the visual sense

[00:12:20] to go along with it so that people understood how playful this film ultimately is.

[00:12:25] No I completely agree with you on the aesthetics it looks so much like a what is a bit of a

[00:12:30] mish mash because you have a red glove to kill her. So you've got a bit of jala but with a different

[00:12:36] colour glove going on so it has it starts off with a really middle of the road stalker slash

[00:12:43] opening. Yeah so Elizabeth Berkeley in full vamp mode who just gets dispatched and you think okay

[00:12:50] I'm not exactly sure what kind of film I'm watching but I think that is a bit of a cue

[00:12:56] that we're watching something that isn't taking itself entirely seriously but then we have to go

[00:13:01] through the motions with Elizabeth Moss's character who is a struggling actress she's not as fit

[00:13:08] she's not as pretty as she needs to be to be competitive so she undergoes this process that

[00:13:14] Hudson's company offers so she undergoes this show revolutionary treatment very mysterious

[00:13:20] please sign the NDA and you're thinking okay well we all know where this is going obviously it's too

[00:13:27] good to be true obviously something bad is going to happen to her and that's exactly what happens

[00:13:32] until you get to the absolute kuku bananas last act of this film which all of a sudden you

[00:13:44] it turns into a monster on the loose yes extravaganza yeah and it's not unexpected but it

[00:13:51] definitely went to places that I didn't think it was going to have the balls to do and that last

[00:13:58] act is very enjoyable it's so silly and fun and Kate Hudson is overacting you know she's got the

[00:14:07] nail game that changes from scene to scene so she's having a blast and I just kept in King

[00:14:12] I wish the film had have had this energy throughout the entire runtime yeah I thought it's

[00:14:18] exactly the same thing yeah as soon as Kate Hudson shows up as a black plastic crocodile

[00:14:25] with silver claws then you know you're in for a good time yeah not literally she's just

[00:14:31] costume to that way she's just yeah she's just wearing this ridiculous outfit yes but the rest

[00:14:36] movie does I mean the phrase that I wrote down was that it sits in an uncanny valley somewhere between

[00:14:43] just being mediocre since he had been mediocre yeah or being a really camp parody and if it had

[00:14:51] committed either way well I think if it committed to sincere and being mediocre no would have disaster

[00:14:57] yeah I think if you've got Kate Hudson right there and you've got death becomes a hovering in the

[00:15:06] wood and you go full camp for the whole movie yeah and this is interesting right because we're

[00:15:11] talking about the film and isolation I don't believe it currently has a distributor but I did see

[00:15:16] a number of people say I think that could probably play well on streaming which makes you think if we

[00:15:21] do try to issue a theatrical window you could have leaned into the camping ridiculous death becomes

[00:15:28] herness of it because I think people would be very receptive to that yeah may not make money

[00:15:34] but it probably would have been embraced by people having watch parties definitely it's it

[00:15:39] would be a good couple of beers movie I would say yes although I didn't note down that it has a

[00:15:45] fucking cat's gear it does now whether or not it knows that and it's playing into our expectations

[00:15:51] is not entirely clear again because Mangelah doesn't give us enough it's not clear if he's

[00:15:59] thinking at us or not no it's not but yeah I enjoyed it it was fairly middle of the road for

[00:16:06] the majority of the time until that last act and then yeah then it got interesting then I got

[00:16:10] interesting but boy does it suffer in comparison to the substance yes so slightly different

[00:16:17] night bitch which you haven't seen I didn't get to see this but I have read the novel but it's

[00:16:24] okay so this one is slightly different in that this is more of a drama the body horror element

[00:16:31] to it is sort of a sight note I would say great so it's a searing indictment of the experience

[00:16:39] the women have as mothers it's great there's this fantasy opening where Amy Adams his character

[00:16:46] is she's shopping for groceries she's got a toddler in the shopping cart you can hear

[00:16:52] another one screaming and pulling things off the shelves in the background course and the woman who

[00:16:57] has taken her job at her place of work while she is on maternity leave comes up to her and asks her

[00:17:05] if she's enjoying being a stay at home mum and she enters into this fantasy where she just

[00:17:12] reels out this vicious diatribe of just how awful it is the loss of identity the loss of your mental

[00:17:20] faculties the loss of your sanity and how you feel as though you've just given up everything and

[00:17:26] sacrifice everything and it's sort of the polemic of the whole movie but even before the title has

[00:17:33] come on so that's what it's about and it's visualised over the course of the film with her character

[00:17:40] experiencing these physical transformations as well as what's happening to her personally and emotionally

[00:17:47] she starts to imagine that she's turning into a dog yes and this physically manifests itself

[00:17:53] in terms of a tail she also has a heightened sense of smell right local dog start bringing offerings

[00:18:00] to her doorstep that she finds in the morning okay but it is very much a magical realist drama

[00:18:08] where I feel as though the magical realist element has been sort of played down for the movie

[00:18:14] with a night towards getting more of a mainstream audience and possibly some awards buzz yes

[00:18:21] yeah of course amy Adams famously nominated all the time never wins and some people speculate that

[00:18:29] she's just constantly chasing these high profile kind of buzzy but still very mainstream roles

[00:18:35] we should note that the writer director of this is Mary L. Heller who has had some pretty good

[00:18:41] success so she did can you ever forgive me which is an amazing film not genre at all but it's got

[00:18:48] a great kind of dry sense of humor and then I think she did the Mr Rogers biopic yeah beautiful

[00:18:56] day in the night put 2019 just before the pandemic and that one is a really good tear jerker

[00:19:01] so this is like like I actually really love her direction but she does pick these kind of off-kilter

[00:19:09] dark comedy or drama comedies and it too often I think feels like there's a compromise being made

[00:19:17] to satisfy a mainstream wider audience so even though I'm sure any Adams does a great job

[00:19:24] looking at this I just that this is a high concept that doesn't actually want to be high concept

[00:19:29] yeah and that was very much my experience which is a shame because it touches on various aspects

[00:19:34] of this issue like I mean I'm particularly like scootment neary as the the well-meaning husband

[00:19:39] yeah yeah and he is a nice guy he is what you would hope a supportive father husband would be in

[00:19:48] a relationship but he's still nevertheless completely underestimates the scale of the never-ending

[00:19:54] grind right the a stay at home parent experiences and the loss of identity that comes along with it

[00:20:00] and he's constantly putting his foot in it and getting it wrong but you can see that he's trying

[00:20:05] but you can see the inadequacy that's there and the test that it's putting on their relationship at the same time

[00:20:12] and as the story progresses and obviously you come to conflict in the middle of the movie you can kind

[00:20:19] of see the two characters sitting there once they've spoiled us sort of separated it and you can just

[00:20:25] see them sort of both sitting there as they've been hit by a freight train and not really knowing

[00:20:29] why or how this has happened to them how they have gotten to that point in their lives

[00:20:35] that's interesting because my experience reading the book was not one of enjoyment the writing is

[00:20:44] all first-person narration so your trap in this character's head and part of the enticing pieces

[00:20:50] is she imagining all of this fantastical transformation elements or is she sleep deprived she doesn't

[00:20:58] know who she is anymore and so on so the novel really wants to have it both ways I personally

[00:21:03] just did not connect with the writing I find quite grading in the book was a struggle to finish

[00:21:08] but I was curious about how the film was going to bounce its tone because it did seem like it was

[00:21:13] leaning in a bit more towards the comedy I'm assuming there's still voice over narration or no

[00:21:19] there is and there as as I say these moments where she just goes into fantasy and tells you exactly

[00:21:24] what she's feeling okay in a sort of imagined parallel universe where she actually says the things

[00:21:30] that are on her mind rather than just bottling them all up inside and imagining that that's probably

[00:21:35] pretty successful comedy right yeah yeah it's funny it played well with the crowd that I was with for sure

[00:21:41] so would you ultimately say that the film was successful I think it is but the problem is and I can't

[00:21:48] speak to this because this is not an experience I have had and will never have but the problem that

[00:21:54] I had with it watching him was that I can imagine like certainly my mother my mother's generation possibly

[00:22:00] or specifically her would find this insulting oh okay she always talks quite proudly about the

[00:22:08] fact that she coped very well with children at a very young age with the husband doing a full-time

[00:22:16] job my dad was in the army and was not there and certainly not playing the kind of role that you see

[00:22:22] scoop at narri playing in this film so I don't know the sense I get from her is that she kind

[00:22:28] of chafes at all of these expectations that women have that they should be able to be a mother

[00:22:33] and maintain an artistic creative life as any Adams's character so desperately wants to hear

[00:22:40] or a career or or the suggestion that raising children is somehow it too much for women that they

[00:22:46] cannot cope with it and it is mentally cruel or damaging to them so I don't know I watch it and thinking

[00:22:53] is that just because of the generational differences in terms of expectations for women in society

[00:22:59] or is it that the film is the sense that I got when I walked away from it is this clip is this sort

[00:23:05] of eat-pray love level of analysis of a very very serious and complicated issue.

[00:23:14] Yeah at the impression I got just based off of my experience reading the novel and then watching

[00:23:19] the trailer was that it is a little bit of that but I think that this will also kind of be

[00:23:28] the catnip slash doggy chow equivalent to contemporary women of a certain age right like I

[00:23:35] think that this is a very smart decision by any Adams because I think her demograph is going to

[00:23:41] look at this and say I relate strongly to that as a modern woman who is trying to make it all work

[00:23:47] it's fucking rough. It is yeah and I think perhaps to be fair what it does convey very very well

[00:23:54] is the scale of the challenge and the scale of the burden of all of these different expectations

[00:23:59] and the feeling that you're failing individually as a human being but also as a representative

[00:24:05] of your gender. I have no doubt that it will be a huge hit and will probably Ghana rewards.

[00:24:13] It's got some great dialogue Amy Adams is brilliant and it's so his scootmug Mary.

[00:24:17] It's very much Amy Adams is fun but at the same time I did come away from it feeling this may have

[00:24:23] a simplified something but perhaps it's still helpful and useful despite that.

[00:24:29] Yeah so finally in our clutch of body horrors I wanted to talk about a very very different

[00:24:35] film that we got to see this one male centered. Ah I changed a piece and that was else

[00:24:42] which is from Belgium, France Bellsheak movie maybe a co-production.

[00:24:47] I wouldn't be surprised. Yeah I'm going to massacre this name so it's written and directed by

[00:24:52] Emma. I think so yeah that's a good guest starring Matthias Sompur as Onks and Edith Proust as Cassie

[00:25:02] and this one I felt was more solidly in the camp of cosmic horror. Oh yes rather than body horror

[00:25:10] so this one pos it say a world in which there is a pandemic very much draws from my

[00:25:16] collective experience of that there's a lockdown in France. Yeah and people start

[00:25:23] melding with the environment like this start melting into the floor melting into their walls,

[00:25:29] their home, their furniture each other so it is a body horror but also just a metaphysical nightmare.

[00:25:37] Yeah and I will say some of the visuals in this film it's very dreamlike.

[00:25:42] Um playbles the wrong word but it does have a strong sense of its own style and identity

[00:25:50] and it knows I think how to manipulate people because the other interesting thing is that sure

[00:25:56] it's a virus pandemic movie, it's a body horror film but I would also argue that this is a romantic film

[00:26:04] and we're very much invested in the relationship between Onks and Cass because they're

[00:26:10] so fresh and so new right like the film opens with this failed attempt at sex which is clearly

[00:26:16] a one night stand that each partner likes the other one but then mitigating circumstances

[00:26:23] essentially forced them to co-habitate during the lockdown and we start to really invest in the

[00:26:28] nature of their relationship but also people are fucking merging into their walls and furniture

[00:26:34] stuff yes and it's very much a film about symbiosis and the nature of sharing a space

[00:26:43] inhabiting you have the same time and this is played out not just with Onks and Cass who are

[00:26:49] very new to each other trying to share a space with each other for the first time. Cass is a little

[00:26:54] bit of a manic pixie dream go a little bit yeah and yeah I'm not sure I'd want to be locked down

[00:26:59] but she would be a lot yeah but you also hear it from the neighbors because they're in a block of

[00:27:06] apartments so you hear it from the people above and the people below you get the tensions that are

[00:27:12] being created or in the case of one character that's talked to them who's just I don't think

[00:27:17] she's a cat lady I think she has a dog she's a dog lady she's a dog lady yeah she's a night

[00:27:22] bitch no but it is interesting right because the people in the apartment building

[00:27:27] clearly don't know each other very well either but the whole building is so interconnected that we

[00:27:32] can speak through vents or we can speak through the garbage shoot and again we're reinforcing this

[00:27:37] idea that just because you are in close proximity to people doesn't mean you actually know them

[00:27:42] but you can be like Onksgains a certain amount of comfort in a way from being able to talk to

[00:27:50] other people particularly when we're their shit starts happening in his own apartment and I like

[00:27:57] that the film is so incredibly cosmic and interested in like some of these visuals are frankly

[00:28:03] mind blowing like there's a gorgeous grossness to the horror that I really really appreciated

[00:28:12] but at the same time it feels imminently grounded in the human experience which sounds like

[00:28:17] the most bullshit film person expression ever but it like it really is about Onks just kind of

[00:28:23] learning who do I like how do I want to connect with people yeah and very much about his relationships

[00:28:29] with women yeah because hovering in the background of all of it is the mother dead mom dead mom

[00:28:35] of it yes who died of cancer and he was unable to nurture her and care for her yes

[00:28:43] in the way that he would have liked who have done because he found her disgusting he describes

[00:28:48] the process of her diseases he watched her become a thing yeah which is a key line I think oh yes

[00:28:56] because he gets spawners he gets to experience that in all kinds of ways during the course

[00:29:00] this movie people merging with them becoming things yes and so much of the film is about that

[00:29:06] relationship that physical bond with the mother and with lovers significant others particularly

[00:29:13] I noticed that it I was quite happy that it started off with an ASMR sequence I get the

[00:29:19] view what I saw yeah he watches an ASMR video to relax which is very much about creating a

[00:29:26] a lot of official sense of I think it stems back to grooming yeah and really he's trying to

[00:29:34] delay or just calm himself right because he is a very anxious person like that's I think part of

[00:29:40] the reason why we're meant to assume he has performance anxiety when it comes to sex but also

[00:29:45] the other element I noted is that his apartment feels like a bit of a childish cocoon he's got

[00:29:50] a number of totems that clearly call back to a kind of stunted growth he seems like a bit of a

[00:29:57] adult yeah he does and so yeah his ultimate decision was not too much of a surprise to me but I would

[00:30:05] so insane yeah I will just say though like this is a very artsy film which is maybe not surprising

[00:30:12] then that it hails from France but I just think the visuals are so rapturous like I loved how

[00:30:20] confronting and disgusting they were but also there's a tactile nature that I found really

[00:30:26] visually pleasurable to watch and the film changes its environment pretty frequently so it feels like

[00:30:32] we are seeing new things even though we're spending most of the film trapped in his apartment yeah

[00:30:38] no it takes on a huge cosmic scale yeah yeah really does yeah I thought it was remarkable I really

[00:30:45] enjoyed it particularly for I thought of Dan I was thinking of you Dan well while I was

[00:30:51] watching the film because the sound design is it's too exquisite it's fantastic yeah there's a

[00:30:55] particular moment I noted where yes I'm fortunate the dog in the art style it does it does not do

[00:31:02] well no and because it merges with the building there is a moment where you can hear it but its

[00:31:09] owls are merged with the sound of wood yes sort of creaking and groaning and it's beautifully done

[00:31:17] and there is a reveal there there is a shock reveal there at one point that is very disturbing

[00:31:23] yes I compared it to a key moment from emni chamelons the village just in terms of its effectiveness

[00:31:29] like this is the first feature by emni this is actually developed from a short of the same name

[00:31:35] which I've not seen but this is a talent like this directors ability to convey both emotion but

[00:31:42] also through visual imagery is really really impactful like it's the kind of thing where you say oh

[00:31:49] I can't wait to see where we go next with this creative yeah I don't think this one won't

[00:31:55] get a very wide release no this is definitely too artsy and I mean the fact that it's also a

[00:32:03] foreign film like it's a non-English film I think it's just it's gonna struggle to find its audience

[00:32:08] but the people who will like it are going to like it a lot yeah you're gonna love it I could see

[00:32:13] cropping up on movie maybe I could see that yeah definitely so that's our brace of body horrors

[00:32:21] so many body horrors quite a few many more that I expected yeah so we'll be back again with another

[00:32:28] episode to talk about another clutch of movies that we saw but bye for now goodbye

[00:32:43] and meet you soon