Deep Dark is a weird little film. It’s horror at its best, using its unsettling premise to explore bigger themes of love and art. The movie tells the story of Hermann, a failed artist who dreams of making it big with his mobiles, but doesn’t seem to have much talent. Until he moves to his uncle’s studio and finds a talking hole in the wall (?) who provides him with material and inspiration. It’s interesting how the hole’s nature is never explained because Hermann never asks, he doesn’t care that he’s in contact and having a weird relationship with a supernatural entity: all that matters is to get what he wants. Hermann’s desire to be a successful also corrupts the whole point of him being an artist: the mobiles that everyone loves are not his creation, but the hole’s, devoid of any personal meaning to him. The movie also makes a critique to the art market that’s similar to the one The Menu makes to haute cuisine: the people buying these works and consuming that food are not doing it because they truly appreciate the craft, it’s all a matter of status. There’s the theme of loneliness too, how the entity in the hole gets so attached so quickly to Hermann because he’s the only other creature she can come in contact with, as something immobile that can’t leave the room. It mirrors Hermann’s own quick attachment to Devora Klein, as a man who has never been even close to the beauty and success she represents, ignoring her own selfish intentions towards him. It’s a story that gives you a lot to think about. I may or may not be rooting for a sequel where the entity in the hole takes revenge.
Deep Dark is a weird little film. It’s horror at its best, using its unsettling premise to explore bigger themes of love and art. The movie tells the story of Hermann, a failed artist who dreams of making it big with his mobiles, but doesn’t seem to have much talent. Until he moves to his uncle’s studio and finds a talking hole in the wall (?) who provides him with material and inspiration. It’s interesting how the hole’s nature is never explained because Hermann never asks, he doesn’t care that he’s in contact and having a weird relationship with a supernatural entity: all that matters is to get what he wants. Hermann’s desire to be a successful also corrupts the whole point of him being an artist: the mobiles that everyone loves are not his creation, but the hole’s, devoid of any personal meaning to him. The movie also makes a critique to the art market that’s similar to the one The Menu makes to haute cuisine: the people buying these works and consuming that food are not doing it because they truly appreciate the craft, it’s all a matter of status. There’s the theme of loneliness too, how the entity in the hole gets so attached so quickly to Hermann because he’s the only other creature she can come in contact with, as something immobile that can’t leave the room. It mirrors Hermann’s own quick attachment to Devora Klein, as a man who has never been even close to the beauty and success she represents, ignoring her own selfish intentions towards him. It’s a story that gives you a lot to think about. I may or may not be rooting for a sequel where the entity in the hole takes revenge.
