Appreciation for the atypical horror movie extended into the American release of “Goodnight Mommy.” While audiences will be in the dark about this year’s Oscar nominations until January, the Austrian film holds its ground in earning the coveted nod.
Straying away from conventional “pop-out” cinematic horror, the film delivers a shockingly unsettling masterpiece with richly symbolic undertones, stunning visuals and a heart-wrenching twist.
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When young Lukas and Elias — played by real-life Lukas and Elias Schwarz — arrive home after playing in the quaint Austrian countryside, they go to find their mother (Susanne Wuest, “Antares”) forlornly standing at the window of her bedroom. But her entire head and face are wrapped in bandages, save for her eyes and mouth.
A new sense of detachment and fragile temper worsens her menacing appearance. Convinced she is an imposter, Lukas and Elias resort to drastic measures to discover the truth.
Originally titled “Ich seh, Ich seh,” or “I see, I see” in German, the language barrier serves no obstacle with the help of theatrical subtitles. But “Goodnight Mommy” would still be nauseatingly terrifying without this aid — even with the adorable real-life twin duo.
The film continually distills a pertinent sense of agitation and tension in the audience. The sinister nature of the last third will make the average moviegoer sway with vertigo. This was in part due to the exceptional acting abilities of Wuest, particularly in the very difficult scenes to watch, including an unbearable torture sequence (super gluing lips together, anyone?).
Fortunately for the filmmakers, but not so marvelous for the audience, everything felt a little too real. Moviegoers should prepare for a sleepless night with relentless mental replay from scenes such as these.
In this way, “Goodnight Mommy” is more of a psychological journey than a horror film in the traditional sense. For example, the omnipresent hissing of Madagascar cockroaches effectively and appropriately produces unease. A particularly vomit-inducing instance is when one cockroach finds shelter inside “mommy’s” mouth; there is a compelling emblematic touch to the creepy crawlers — they most likely symbolize the boys’ lonely existence as they find comfort in bizarre companions.
Among other symbolic undertones similar to the boys’ attachment to the cockroaches is their attempt to preserve their dead cat in a water tank, which had endured a brief stay with the boys.
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Disturbing yet touching, this scene parallels with other disquieting, not overdone elements. For example, the boys’ bedroom wallpaper consists of painted insects, an uncanny touch that creates an unsettling nature audiences cannot quite put their finger on.
This eerie imagery falls under the film’s masterful art direction. Directors Veronica Franz and Severin Fiala were sure to capture the ravishing Austrian landscape. The characters’ “stylish retreat,” as referred to in the film, possesses a simplistic and modern design, an otherwise pleasant touch if not for the nature of the movie.
In fact, the clean, polished look of the house and the characters’ apparel serves a purposeful irony. Despite its appealing aesthetic, there is an inexplicable looming sense of dread throughout the duration of the film.
There was something hauntingly beautiful about this movie, despite the agony of desperately wanting to look away, only to find it impossible. In effect, Franz and Fiala executed the film quite exquisitely. There is no question “Goodnight Mommy” merits Oscar recognition.
The Union South Marquee will be showing “Goodnight Mommy” Nov. 14 at 11:30 p.m. for free.
