🔴 Watch Increadible Riley Keough In The Lodge (2019) Full Movie Subtitle France Italy
Date: 2020-02-29 00:46:00
Viewed: 163 times - 1 day, 17 hour, 22 minute, 21 second ago
Severin Fiala and Veronika Franz return to work together five years after the surprising Goodnight Mommy for another chilling psychological horror, their first in English, The Lodge. Directed by the duo of Austrian directors (who also write the screenplay with Sergio Casci), in the film the suspense, anguish and a constant sense of surreal suspension keep the spectator immobile, anchored to the chair, until the shocking finale. Some of the fundamental elements of the genre, strongly inspired by Stanley Kubrick's Shining, such as isolation in a very hostile environment from which it is impossible to escape, on the sense of threat, inexorable sinking into paranoia, a narration never taken for granted and above all a grim and cold degenerate of events, make it one of the titles not to be missed for fans of terror cinema in 2019, and undoubtedly one of the best seen at NIFFF 2019.
The premises are already disturbing in themselves. When Richard (Richard Armitage) leaves his wife Laura (Alicia Silverstone) for another woman, Grace (Riley Keough), Aiden (Jaeden Martell) and Mia (Lia McHugh) are forced to spend time with the parent and his new flame. After a tragic and traumatic event, in fact, the two boys, still deeply troubled, are predictably entrusted to their father, and after a few months they are forced by the man to spend the Christmas holidays in the company of his future young wife in the lost family home in the mountains. From the outset there is of course small frictions. It is of little use that the woman tries in every way to win the trust of her stepchildren, these are extremely hostile, considering her guilty of the destruction of their family.
The situation worsened significantly when Richard returned to town for work, 'abandoning' him with his stepmother. The fragile balance is completely broken and the two brothers slowly reveal all their repressed hostility towards Grace. Aiden closes in her room most of the time, when forced to answer monosyllables and resentment, while Mia, in a gesture of challenge, shows her an old family film in which they were happy, stubbornly declaring that it is his Christmas gift for father. In short, neither of them seems inclined to accept Grace remotely, but her stoic tries to better face every problem of lack of communication. However, it is not easy, especially for someone who has a precarious mental health like her, who is the daughter of the leader of a sect of elated people and has witnessed the mass suicide of the acolytes at an early age, remaining the only survivor. Obviously, she never passed the event and the memory haunts her. And, unfortunately for her, the two teenagers are well aware of her semi-secret tragic past and intend to use this knowledge against her.
The premises of The Lodge are therefore clear: a mansion lost in the woods, constantly swept by the freezing wind and immersed in the snow from which it is impossible to escape. A decidedly unstable subject constantly on the verge of exploding struggling with a situation of great emotional stress and stuck for no one knows how much with two kids who harbor a deep resentment towards her and who just want to take revenge in some way. Finally, add that Richard, for some incomprehensible reason, entrusts Grace with a loaded pistol, just for self-defense (we are still in America at the bottom ...). Mix these ingredients, shake well, and it will soon be clear that a happy ending will be highly unlikely.
The continuous number of sudden turns in the narrative (some rather predictable, but the overall value is not affected) prevents us from revealing much of the fundamental elements of the plot. Since the opening of The Lodge, after only a handful of minutes, a shocking first event leaves the viewer speechless. The rhythm of the diegesis on the other hand is discontinuous, the maximum voltage peaks, the sudden changes of course alternate with moments characterized by an extremely slow development. As if the climax of the action were punched like a punch in the stomach, without worrying about preparing the highlight or letting it settle, while the rest of the minute was destined for a slow and anxious wear and tear, which perfectly translates the gradual loss of connection with reality Grace (and the bewildered spectator with her).
On the other hand, Severin Fiala and Veronika Franz do not present us with a unique, objective truth. Much of the strength of The Lodge is precisely that of keeping the public incredulous and suspended between multiple possible realities, between multiple possible responses. The use of the clues of which horror is disseminated confuse instead of clarifying: macabre photographs, the malfunction of the home clock that marks the wrong date and the cell phones that do not work, personal objects that disappear into thin air and so on, in a paranoid crescendo.
Then, there is the dollhouse (faithful reproduction of the chalet), inside which, a bit like in the recent Hereditary - Ari Aster's roots of evil (our review), macabre representations are 'staged' (will it be fantasy? will it be a vision of the future?). The domestic sphere and the maternal figure become extremely threatening and there is no single interpretation of what appears on the screen, just as it did in Goodnight Mommy; here, however, the two directors play with the supernatural and, in a similar way to what happened in The Others, leave the spectator suspended for a long time between the paranormal and the concrete. Here, finally, we do not have the same linearity in the development until the reversal of our expectations on the end, but a continuous game of creation of expectations in the beholder and their prompt distortion.
After all, however, this is not even, probably the ultimate purpose of The Lodge. The misleading labyrinthine narrative modus is only a tool to enter the minds of the characters, of Grace in particular, whose strongly Catholic education, whose fixation with repentance, long repressed after leaving her father, emerge with strength as that circumstances become more desperate. A religious hallucination is therefore set up, in which the symbols of the sacred, the crucifixes hanging around the house and even more a painting (a Madonna by Antonello da Messina) assume threatening outlines or premonitions that prelude the Final Judgment.
So, while the icy wind blows at the windows and the snowy heaths prevent reaching the nearest inhabited center on foot, Grace - prisoner together with Mia and Aiden - sinks into despair and the religious dogmas transmitted to him in childhood resurface relentlessly, to determine his vision of the world around it. Repentance for one's sins, Purgatory, even an extreme way to reach God become fixed thoughts in her mind.
We who assist ask ourselves whether it is all a mirage, a cruel joke or really the afterlife. The anguished, almost unnatural setting, the alienating, endless, deserted and white-tinted landscapes, the constant threat of the elements almost conveys the idea of an extremely distant - almost otherworldly. The use of the exteriors, however it is, is deeply Carpentian and, on the other hand, The Thing is even quoted openly in a sequence (Mia watches it on TV).
Severin Fiala and Veronika Franz are absolutely confirmed as a couple to keep an eye on, filmmakers who do not care about pleasing the mass audience and who continue along a very precise path. We can only wish them never to be tempted by more commercial routes.
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