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
The concept of "Annwn" (Annwyn) is not made up especially for the film or the book on which it was based. "Annwn" is an underworld or other world found in Welsh legend, a land of the dead. It is said to lay far in the west and could be accessed by the living through a door located at the mouth of the Severn once a year. Surviving from pre-Christian Celtic mythology, it's neither Heaven nor Hell in the Christian sense, humans can enter spiritually or corporeally. This is the first film about Annwn. See more »
During the water splashing scenes, you can see water on the camera lens. See more »
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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