Review by Gabriel Mills-Connolly
The cinema was silent as the credits rolled. Back at home dark corners in the house felt ominous and it was hard closing my eyes as I tried to sleep. The Phillipou brothers that brought you the gripping horror Talk to Me are back, and they’ve delivered another home-grown horror that will join the great pantheon of modern Australian horror films.
The story follows the tragedy of two teenagers who are abruptly forced into the South Australian foster system; Piper (Sora Wong), 13, who is visually impaired, and her protective brother Andy (Billy Barratt), 17.
The strong connection in their sibling relationship plays an integral role in the story. It’s established immediately at the start of the film, only for it to be tested moments later when their father is found unresponsive in the shower.
Sora Wong is visually impaired and her performance of Piper at first seems vulnerable and sensitive but as the story progresses we are shown that she’s anything but, and for her first acting role she strikes the tone exceptionally. Barratt’s portrayal of Andy as troubled but deeply caring makes him an antagonist to root for. He strikes that balance of frustration and care, and plays anger from trauma with a strong nuance that would be lost if the anger was overpowering.
They are sent to live with Laura (Sally Hawkins) and her foster child Oliver, who we are told by Laura is mute. Laura has lost her biological child and it’s made clear immediately that she’s very interested in Piper and is ambivalent, even frustrated, with Andy’s presence.
Hawkins’ ability to dance between the fun aunt and frightening monster is remarkable but what’s even more remarkable is the complexity she brings to Laura’s motivations. At the heart of the character you feel that she’s trapped by the grief which expertly cranks up the desperation when the story calls for it.
You realise quite quickly after the introduction of Laura and the house that all is not well and the film starts to descend steadily into a stressful and gruesome nightmare that has you gripping the armrest for an hour and a half.
A ridiculous lack of communication in horror films is always the reason for the antagonists to find themselves in their predicament, but this film’s moments of miscommunication feel all too relatable.
Not once do you feel the need to yell “Why the hell are you going in there?” because the insecurities of Andy and Piper feel real. Especially when they face the manipulations of Laura, a former councillor with a possessed desire to avoid grief.
Danny Philippou and Bill Hinzman’s screenplay relies on alternating visual and aural motifs, but it never overtly explains the motivations and intentions of the characters or the lore behind the story. The ‘show don’t tell’ narrative adds a much needed ambiguity to a film with a lot of questions, which are answered if you pay enough attention.
It is an incredibly gruesome film that’s heightened by Jonah’s performance and the realistic special effects that mark his steady decline through the film. With a budget of only 15 million dollars it makes every penny count and there is a sense of strong passion in the production of this film.
Cookie cutter stories based on bloated franchises litter our silver screens today, and it’s incredibly refreshing to see something original, let alone Australian made.
