Horror
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In an excellent horror feature film, James Watkins sets up a hellish mechanism between two families who are complete opposites, and whose weekend turns into a nightmare.
There is no bogeyman in Speak No Evil by James Watkins. It is, however, and as the Blumhouse factory logo that introduces its credits suggests, a horror film, a phenomenal accretion of tension, a wrinkled resolutely trying. But if the existential threat ends up being embodied, the source of terror is faceless, strictly speaking: it is the Other, who lives so close and so far away, with whom we know we will never mix. The other that we secretly wish to become at the same time as we congratulate ourselves on having become its opposite. The one we envy for his freedom while being horrified by the chaos he causes by exercising it. The villain who allows himself to embrace his worst instincts and the worst ideologies, those on the side of selfishness, death and greed. A demon if we hold to this semantic field, but not of the supernatural ones that escape from the bowels of the earth to come and corrupt us, rather of those who inhabit our societies and work to dominate us, devour us, crush us.
Infernal machine
A remake of a highly acclaimed Danish film that pushed the misanthropic logic of Ruben Östlund’s horrifying social satire to its horrific extreme, Speak No Evil contrasts two families for the pleasure of the anomaly: one is wealthy and American, expatriated in London, full of pr
