the terror is in the details – nonenglishfeed

On Welcome to the Blumhouse: Mothers from Ryan Zaragoza, fear is a deceptive presence. Or it is because the director shows it from a certain distance. Dreams, fragmented visions, a certain sense of unreality. Little by little, the film builds a scenario in which nothing is what it seems and what is most fearsome, nothing is entirely real.

Or that is the premise of this story set in the 70s, which contrasts the harshness of the context with the classic horror. And although the combination is not entirely coherent, Zaragoza manages to create a good speech about the dark. As much as to appeal to the idea of ​​loss from primitive fears.

Perhaps that is why the first sequence of the film is a dream, which sums up the fears of any mother. Diana (Ariana Guerra) wakes up terrified by a twisted image in which she loses the baby she is expecting. It does so, with a later version of reality, which is also supported by something more elaborate. The dream is built to be a metaphor And, in fact, Zaragoza makes sure you know it. The film then passes into the reality of a road trip short and between both things, it establishes its rhythm.

One that has to do with perception, with time and the consistency of the credible, extremes that the argument constructs with care. It is a bold game that Zaragoza plays with a firm hand. However, it is successful on several occasions and, perhaps, that is the strongest point of the film. It seems of considerable importance to the director to make it clear (even with a phrase from Conrad) that his film is about the evil within.

One who will take on the literal good – motherhood, as the argument conceives – and hold up as something more painful. For better or for worse, Zaragoza takes the title of film in a literal way, which makes it difficult for him to explore other spaces or ideas.

Many Thanks To The following Website For This Valuable Content.
the terror is in the details – nonenglishfeed