Andrew Garfield, Mahershala Ali, Ruth Negga, and five others received their first-ever acting nominations for 2017. While these actors are new to the Academy Awards, you may recognize them from their earlier work.
An ex-con moves into an old apartment building, where he encounters a domestic problem involving a police officer, his wife, and their daughter. When he tries to intervene, however, a mysterious curse entraps him.
While in Wales visiting her husband James, Adèlle tries to fix her relationship with her teenager daughter Sarah. They see a weird memorial without the plate and with the name "Annwyn" marked, and the local Dafydd explains that this would be the place where people go after dying in accordance with the Welsh mythology. Later, Sarah vanishes on the beach and the daughter of the local fanatic shepherd, Ebrill, who died fifty years ago, appears in her place. Adele makes a research trying to find how to rescue her daughter from Annway. Written by
Claudio Carvalho, Rio de Janeiro, Brazil
I had enjoyed Fawcett's knowing revision of the werewolf myth in GINGER SNAPS (2000), but wasn't really expecting much out of yet another ghost story (which, in recent years, have flooded the horror market from all over the world). Still, it turned out to be a pleasant surprise which, given my initial skepticism, managed to win me over with its intriguing
if highly derivative - plot line, good performances (by all five main
actors but especially Maria Bello, in a difficult and rather unsympathetic role, and the two ill-treated girls) and the unfamiliar seaside Welsh setting.
As a matter of fact, the film borrows and mixes together elements from a wide variety of classic and cult horror/fantasy titles - ORPHEUS (1950), DON'T LOOK NOW (1973), THE WICKER MAN (1973) and THE BEYOND (1981) - and even features a Bernard Herrmannesque score! Unfortunately, it becomes confusing towards the end and the final twist feels rather like one too many trips to the well; actually, I much preferred the serene (and more balanced) alternate ending!
Despite some editorial flourishes throughout and the occasional cheap shock, the film's tone is generally low-key and introspective; far removed from the hipness of GINGER SNAPS, it's undeniably a more mature work.
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