If I were an aspiring horror producer like Jason Blum, my first stop this year would be to offer Kyle Edward Poole, writer and director of Skinamarink, a deal. But it would be a special deal, similar to what Mel Brooks did with David Lynch to direct The Elephant Man, after Brooks saw and loved Eraserhead.
Skinamarink is not like other horror movies. Produced for $15,000, it's a quiet, almost plotless, experimental experience: a movie with almost no people (although there are a few child actors on the sidelines), mostly shots of a house. , which was the director's childhood home) at 03:00. The film will be released on January 13 in selected megaplexes, which is a perfect scenario; They want to live with the audience, like a show. I found "Skinamarink" to be terrifying, but it's a film that demands (and rewards) patience and can be revolting as a result (not to mention its disastrous Cinemascore rating). But if you follow it you can feel that you have touched the extraordinary.
The lights are dim, the rooms and hallways are mostly empty, bright glimpses down a carpeted hallway, a slanted shot of a hallway going dark, or a painting of a cluttered hallway are typical images. Scattered with Lego bricks, and then another piece is tossed out at random from the side, and we can't see who (or what) threw it.
As Skinamarink journeys through this otherwise untold domestic space, presenting each shot as a chilling piece of a puzzle, the film invites us to reconnect with all of our childhood fears. What do you know about the midnight monster that hides in the dark? Most of what we see is not supernatural, but there are images that draw us in that direction (for example, the door frame suddenly disappears). The film's strategy is to look for signs that examining the shot becomes an increasingly hypnotic endeavor as we realize that there is a demon here, one very different from the demons in other films. Horror movies are often shot in the dark. " Skinamarink " is one of those rare genres that really delivers a goddamn night terror.
This film has less of a story than Eraserhead, although the slowly unfolding nightmarish atmosphere is closely related to the 1977 classic. A snail's pace, passages where faint lights flicker with electric pulses, and the soundtrack is drowned out by an eerie visual white noise, with old music playing in the background (in this case from cartoons that are often played on TV) – it's everything. immersed in a lynching mystery.
The effect does not stop there. The TV, with its treacherous appearance and the panels constantly tripping in one place, is shaped like a portal, which of course makes you think of a "poltergeist", although in this case no ghosts appear. "Skinamarkink" Carl Th. Dreyer as the "Poltergeist" from "Vampire." In addition, the satanic poetry is rooted in a stalker-like scenario reminiscent of the terrifying opening of Michael Mann's "Manhunter," in which a serial killer's lamp illuminates the wooden staircase of the house he's attacking.
The real silence is the sound…the wood paneling, the old painted door frames, the flickering night lights…the cameras move to make the film look like "Dr. Caligari" lit by a cathode ray tube. ..a Fisher-Price Life-Giving Phone Almost life…whispers and breathes…the walls move so cautiously…wait…could it be blood?
Canadian Kyle Edward Ball is definitely an expert in semi-secret primal horror, but he works with his own hilarious quirks. " Skinamarkink " was shot on analog film with an old camera and cinematographer Jamie McRae did a great job shooting the shot in the early 1970s. The title says the movie is set in 1995, but that makes sense because it was before the end of the internet. It could be said that the web represents Satan in our fantasies because he is a type of Satan, a connected metaphysical force. There's passion at work in "Skinamarink," but it never escapes the edgy mood that dominates our minds.
There are characters, of a kind: 4-year-old Kevin (Lucas Paul) and his 6-year-old sister Kylie (Daley-Rose Tetraault), whose parents have disappeared, leaving them alone at home. We see their feet, the back of their head or hear their voice with subtitles. We hear a low grunting voice that we assume is Dad and then realize it's the devil. He spoke like a serial killer, with a soft, smooth command. He said: "Kylie didn't do what she was told, so she spoke up." Did we say, really? What happens in "Skinamarink" quietly surprises you, only to scare you; you think so. But you also want to believe your eyes, and in a beautiful ending, the film gives us the look we were waiting for, revealing an evil that is emerging from the other world and ours. Cinema is the door that connects the audience with the outside world.
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