Samuel is a paraplegic boy who lives with his mother Elena in an isolated mansion. When he meets Denise, he finds the strength to open up to the world. Elena won't let him go so easily, and she is ready to do whatever it takes to stop him.
Samuel is a paraplegic young boy who lives with his mother Elena in an isolated mansion surrounded by woods. With the strict prohibition to walk away from the mansion, Samuel grows unsatisfied and restless. When he meets Denise, a teenage maid, he finally finds the strength to oppose his mother's restraints and to open up to the world. Elena won't let him go so easily, and she is ready to do whatever it takes to keep him close to her. Why is she forcing Samuel to live as a prisoner in his own house? Why does she act cruelly towards Denise, driven by the fear that she will fuel Samuel's desire to see the world outside?Written by
De Feo's "The Nest" may represent the rebirth of a long forgotten genre like the italian horror
Let's be clear: horror is a genre that in Italy has been forgotten for about 20-25 years.
After ancient glories and masterpieces signed by worldwide-acclaimed masters such as Argento, Fulci, Avati and Bava, horror cinema seems to have totally disappeared from national screens.
Roberto De Feo's "The Nest" is the breath of rebirth and resurrection of a long forgotten genre.
The Nest is a horror that does not point to fear or disgust with particular visual artifices, but adheres to a more suspended, obscure and implicit line like Robert Eggers' "The Witch".
Except for two or three visually more decisive and explicit sequences (placed however in a timely manner and not inopportune) it is a film that is based on dark atmospheres, on a sense of anguish and on a feeling that something strange is about to occur.
It is a horror that also presents very delicate sequences, not trivial and well cohesive with the rest of the work.
A fairly predictable end, however, if one takes into account the clues given here and there in the film and the narrative evolution of the story. An ending that presents nothing innovative, but well cohesive with the premise built by the film.
On a technical level, it presents a really beautiful and extremely accurate photography, moreover being a horror, and an Italian horror. From the directorial style it would be very plausible to believe that it is an Anglo-Saxon or American production.
De Feo's direction is obscure, punctual, precise, elegant, enveloping but also sufficiently detached. Actorial evidence is positive on the whole, except for some high and low of some actors.
The Nest could be the rebirth of a new wave of Italian horror, and I sincerely hope that it is not a beacon of darkness destined, inexorably, to go out to make a long-forgotten genre return to oblivion.
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