Euronews Culture's Movie of the Week: "You Won't Be Alone"

There is also a debut work, debut movie.

This is the latter, the sort of calling card that leaves you wanting more. The Fairy Tale is arguably one of the best movies you’ll see all year long.

You Want Be Alone takes place in a remote mountain village in 19th-century Macedonia, and sees an ancient spirit known as the Wolf Eater (or Old Maid Maria) make a blood pact with her mother. She then has to hand over Teen as compensation for the horrors Maria endured in the same village. In order to outwit the witches, the horrified mother segregates her daughter and forces her to live in near-total isolation.

When it comes to blood oaths with supernatural entities, this rarely works.

Nevena is inevitably taken by Wolf Eatress, who adopts her as his apprentice. This entails the young woman being able to assume the physical form of anyone she chooses, whether human or not, like her new wizard mother form. when is killed.

When Nevena first begins to experience life, she leaves the care of a wolf-eater and steps into the world. She takes on a new form and discovers a cruel yet warm human condition when it comes to the unspoken threads that bind people together.

Just like Nevena switches skins to embody Noomi Rapace, this shape-shifting glamorous setup allows Stlevski to play with gender identity and his cast (girl with dragon tattoo, lamb), Alice Englert (dog power) and Carloto Cotta (One Thousand and One Nights). Each performer shines brightly and is skilled at quietly conveying the feelings of those experiencing life for the first time. But it was Sara Klimoska (original Nevenna) who captivated the most, successfully selling her character’s saucer-eyed curiosity and the simmering pain in the life she longs to take back. Her state of mute means not only her meditations on social relationships and dynamics between men and women, but a constant inner monologue that guides the viewer through transformation.

For Old Maid Maria, Romanian actress Ana Maria Marinca (4 months, 3 weeks and 2 days) gives a subtle yet memorable performance as the story’s central antagonist. Her character is arguably the most compelling one on several levels. The mythology surrounding the Wolf-Eatress is never spelled out, but is a handpicked selection from lore associated with vampires and witchcraft, walking a tightrope in a perfectly judged perverted manner, and sometimes all-out body horror. There is a risk of falling into But this element is masterfully kept under control by her oversight, and mutation never condemns her as an all-out villain.

Instead, in much the same way Stlevsky perfectly balances the need for visual horror so as to never overwhelm the more existential nature of fairy tales, Old Lady Maria is the martyr and the human race. This makes her one of the classic mother-maiden-old-woman identities traditionally seen in fairy tales, but three. Cast as all iterations. It also makes her mythical rebirth an existence weighed down by grief, inspiring both empathy and terror.

Stlevsky’s balance of these all-too-emotions and his command of horror grammar are particularly impressive. In this regard, the animals throughout the film are important. Their presence feels natural given the idyllic setting, but it adopts another dimension. Wolf-Eatres are potentially everywhere and can be in anyone. exorcist A line of dialogue heard before as it echoes through a possessed Regan. “Dad, can you help the old altar boy?” asks a homeless man on a subway platform toward the beginning of William Friedkin’s 1973 classic. The chilling implication of hearing this same line later in the film is that evil is omnipresent and always watching, even before the pea soup vomiting starts and the head starts spinning 360°. The same goes for the animals inside. You Want Be Alone: The audience doesn’t know in what form witches live. She may be in the woods and she may be staring from a distance, or she may be a more active observer. It’s a well-handled, frisson-inducing detail that makes the title feel like a literal, unnerving, and somehow oddly benevolent warning.

That’s where one of the film’s greatest strengths lies. Stolevski allows multifaceted emotions to coexist and never lets go of the execution. He breathes idiomatic storytelling, tranquil stream of consciousness, and transcendental moods to complement Mark Bradshaw’s captivating score, which combines minimal piano melodies with woozy ambient. I like By not elaborating on everything, Stolevski shows trust in his audience and heightens the themes of patriarchy, transformation, and the interconnectedness of life.

His existential folk horror compellingly evokes Terrence Malick, especially through enigmatic and sometimes deeply moving narrations that ponder life’s larger issues. witchThe first touchstone makes perfect sense, but then again, Stlevsky’s clever balancing act You Want Be Alone It doesn’t feel like a pale imitation. The second comparison is correct. Robert Eggers’ films also deal with witchcraft and folklore, You Want Be Alone Reach for another dreamball. witch not aspiring

The end result is unique in its own words – a bold meditation on identity that offers a compassionate reminder: a world where violent trauma is cyclically inherited and forced upon future generations to “burn, hurt and nauseate.” The hope we hold for improvement is worth holding on to, even if it’s “what it does”. everytime.

You Want Be Alone It premiered at this year’s Sundance Film Festival and screened at the BFI London Film Festival (October 14, 15 and 16) and the Official Fantastic Competition of the Sitges Film Festival (Spain) (October 13 and 15).