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Both Lozon and Akers are likeable in their roles, and they nicely portray the camaraderie from years of friendship between these two young women. But there's a lingering strain between them that's brought into focus by Madison's freak-out visions. And clearly they aren't merely due to the wine she's been drinking. It's also obvious that something is deeply bothering her, and sure enough there's a moment when both of the performances flip up a gear.

There's some nice subtext in here about the guilt people fear about the things they might have done ro jeopardise a relationship. Otherwise, this is basically an unhinged nightmare scenario, turning a close friendship on its head with a serious of suspicions and revelations. And after a long set-up, all of this turns very, very nasty indeed. But it also remains intensely personal right to the end, which gives the film a sharply original kick.

themes, language, violence

28.Aug.26

Performances are fairly heightened, as Schaffer uses the actors in pretty much the same way he uses sets, props and mannequins that the butcher poses in various outfits. In other words, there isn't much characterisation beyond the boy's grotesque imagination and the landlady's curiosity. But there are flourishes that make these people intriguing, including spooky and expressive closeups. And Courson particularly makes the most of her frozen-faced role, with some added breakout moves.

The main plot point seems to be whether the landlady will discover Lush, but there's also a sense that something otherworldly is going on, hinting at everything from ghosts to vampires. All of this inexplicable dreaminess gives the film an almost Lynchian tone, although any possible emotions are strangely muted, bogged down in some sort of warped male fantasy that mixes sex and violence. So while it's hugely creative and darkly unnerving, it never lets us in.

themes, language, violence, sexuality

29.Aug.26

All four of these characters are heightened and very funny. Stickles has the most grounded role, as Chuck is initially more wary of this. Anderson's bubbly Eileen is much more willing to go along with anything someone famous suggests, to a point. And then there are Alex and Ens-Lapointe, who play Bjorg and Sasha as larger-than-life, casually entitled to anything they want with no repercussions, convinced that they are making the world a better place. But they also have a deranged charm.

Dialog is packed with amusing wordplay and outrageously goofy gags. Particularly, Sasha is a bundle of hilarious aphorisms ("If you can dream the work, you can find someone to do the work"). She and Bjorg are sure their new friends will never want to return to their dreary old lives after this colourful weekend. But things eventually do get crazy enough that Eileen and Chuck snap out of their hero worship. What happens from there is even more insane. And a bizarre epilog doesn't bring it into focus.

themes, language, violence

27.Aug.26