Wow. That was intense! I was attracted to this film via its disturbing advertising poster. That, it turns out, was the least of my unsettled worries. This film doesn’t need loud theatrics to scare you—it lets unease bleed slowly into every scene.
This film was an example of the best kind of horror movie in my opinion. The plot revolved around two suddenly orphaned step siblings, placed with a seemingly lovely foster mum, but things are definitely not how they appear at first. Sorrow has taken root in that house some time ago and their carer is nursing a terrible grief. She is quite open about this she has lost a child. The home also has another foster child about whom the foster mother lies, and treats very differently. I don’t want to give any of the story away. Suffice to say the foster mum took the older brother on reluctantly, and she begins to gaslight him in snide and humiliating ways. In fact it is the younger sister that interests her. The foster mum is played by Sally Hawkins who is usually cast in gentle roles like Paddington’s “mum” but she conveys the sense of a woman on a dangerous mission and a talented manipulator brilliantly. The young cast are outstanding I should particularly mention Sora Wong in her first ever professional role is a total natural. She plays the young step sister she and the character are partially sighted. Jonah Wren-Phillips playing the other mysterious foster child had an extraordinary job to do which would create the most disturbing body horror moments that would have you look away. I hope he’s okay after inhabiting that role! There were a couple of jump scares and it will be hard to ever look at chopping up a nice watermelon in the same innocent way ever again,
but it’s the mounting sense of unease that unfolds gradually that is the most powerful thing about this story. It’s a story of grief, longing, manipulation and the impossible desire to turn back the clock.