“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.
