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Cult Review
Senior Film Conservator
If you like movies that feel like they were dug out of a basement, you’ll probably find something to love here. If you need snappy pacing and high-octane drama, you should probably walk away right now. It's for the patient viewer who doesn't mind a little bit of *fuzz* on the edges.
The whole thing feels like a relic. It’s not necessarily a bad thing, but you really have to be in the mood for it.
There is a scene near the middle where two characters just sit there. It goes on for way longer than it should. I found myself staring at the wallpaper behind them, just wondering if it was real or painted. It’s moments like that where the movie feels bizarrely human.
It’s not trying to be a masterpiece. It’s just trying to exist, which is a lot more than I can say for most things these days.
I couldn't help but compare the general vibe to something like The Lonely Woman. Both share that same sort of heavy, unsaid tension that hangs around like stale smoke. It’s not as polished as Revezes, but it has a messy charm that makes you forgive the clunky transitions.
At one point, there’s a vase that gets moved from a table to a shelf, and then it’s just gone for the rest of the scene. Did someone steal it? Did the director forget? It’s these little, pointless details that make me think a real person was actually on set.
It’s definitely not perfect. The editing feels like it was done with a pair of rusty garden shears. But there’s something about the way the actors hold their breath in the close-ups that keeps you watching.
Sometimes you just want to watch something that isn't trying to sell you a franchise or a theme park ride. This is exactly that. It's just a sad little story about people who probably should have stopped talking to each other years ago. 🎞️
It’s not going to change your life. But you’ll probably remember the look in their eyes during that one scene in the parlor. You know the one.
IMDb —
1920
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