"Stop talking to yourself, you're making me nervous"
Esse filme me lembrou muito minhas obras kafkianas favoritas, como "O Processo", onde tudo e todos parecem estar conspirando contra os protagonistas e só eles não sabem o por quê.
Achei a personagem principal fácil de simpatizar, o que também faz com que quem assista se amarre mais ainda no que tá acontecendo. Ando dando uma chance para o gênero de terror folclórico e não me arrependi até agora. Muito legal!

"Stop talking to yourself, you're making me nervous"
Esse filme me lembrou muito minhas obras kafkianas favoritas, como "O Processo", onde tudo e todos parecem estar conspirando contra os protagonistas e só eles não sabem o por quê.
Achei a personagem principal fácil de simpatizar, o que também faz com que quem assista se amarre mais ainda no que tá acontecendo. Ando dando uma chance para o gênero de terror folclórico e não me arrependi até agora. Muito legal!

How dare you come here and talk about your seed!

How dare you come here and talk about your seed!

“They should have known they had a way out but, being birds, they didn’t”

Even if its directorial stylings bely its budget and stage origins, this is first class folk horror. A precursor to The Wicker Man with an even stronger central performance. Slow, simmering, ever so slightly oblique; I loved this.

Everything is seeded (pardon the pun) from the start, you’re just watching it unravel slowly, watching the realisation set in. Anna Cropper is commandingly strong, especially during the surprisingly contemporary aspects- “It may be your child but it’s certainly not your business”- and the script, not surprisingly given its material, is consistently unnerving. 

But it’s the final shot, much like Full Circle, that lingers like a breeze under a doorframe. The sort of shot that’ll have you waking up with a trapped nerve in your neck.

“They should have known they had a way out but, being birds, they didn’t”

Even if its directorial stylings bely its budget and stage origins, this is first class folk horror. A precursor to The Wicker Man with an even stronger central performance. Slow, simmering, ever so slightly oblique; I loved this.

Everything is seeded (pardon the pun) from the start, you’re just watching it unravel slowly, watching the realisation set in. Anna Cropper is commandingly strong, especially during the surprisingly contemporary aspects- “It may be your child but it’s certainly not your business”- and the script, not surprisingly given its material, is consistently unnerving. 

But it’s the final shot, much like Full Circle, that lingers like a breeze under a doorframe. The sort of shot that’ll have you waking up with a trapped nerve in your neck.

Bit dry but gets pretty dread-inducing. Men owes a debt. Like a small-scale Wicker Man but from a different (and kind of more interesting) angle.

Bit dry but gets pretty dread-inducing. Men owes a debt. Like a small-scale Wicker Man but from a different (and kind of more interesting) angle.

I gave this a try as it was mentioned as similar in a thread on The Wicker Man. 

For a tv movie, this exceeded my expectations.

I gave this a try as it was mentioned as similar in a thread on The Wicker Man. 

For a tv movie, this exceeded my expectations.