Info=Relic is a movie starring Emily Mortimer, Robyn Nevin, and Bella Heathcote. A daughter, mother and grandmother are haunted by a manifestation of dementia that consumes their family's home / / Director=Natalie Erika James / Release Date=2020 / writed by=Natalie Erika James / 6299 vote

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E5 b0 8f e4 b8 91 exam. The ultimate scene of this horror film recalls the ending to the highly influential feature film 'Under the Skin' in which it is revealed that Scarlett Johansson's character is merely wearing the visage of humanity, and is in fact a matte-skinned alien humanoid. Like Edna, the alien of Under the Skin reaches across a chasm in search of human connection - an effort that seems doomed. Though Under the Skin is not overtly a horror movie, its imagery has found its way into many successful works in the genre, such as Get Out and Stranger Things.
I think the biggest challenge this film faces is the establishment of a solid thematic basis. This shaky foundation manifests in an obscure backstory of the apparent similar fate of the older generation of the family, and the confused metaphysics of the labyrinth, which feels tacked on to the third act rather than embedded in the total story. Is the house inside the mind of Edna, or is the house haunted? Ambiguity isn't a negative necessarily, but in films like 'The Shining' a touchstone to recent so-called 'elevated horror' films like the influential 'Hereditary' the ambiguity is constructed in such a way that the viewer can provide multiple poetic interpretations. If the mystery is resolved (they literally broke out of the decaying haunted house of Edna's mind) then it shuts out the viewer's imagination.
The image is rendered excessively dark at times, to the point that it becomes difficult to see what is happening. This may have been done to smooth over bumps in production however at times it forces the view to strain to comprehend the scene.
I want the Australian film and TV industry to generate excellent genre films, because industry is founded on such work. I fear that many will come to this film hoping for a scare and feel baited by this film that can be successfully marketed as one thing while being another. Yes, horror can be profitable, and that is because it is founded on that dedicated part of the audience who like to be put in a state of fear and dread, who willingly suspend their disbelief in a supernatural scenario that holds meaning. Stories can mean things, but not when they are overt: we inherit the relics of the older generation, whether we like to or not. If the audience can walk out of the experience and quickly do the math in their head that 'the the real monster was the dementia' then what you have is a personal essay, not a story.
Australian filmmakers have been coached into embedding signposted cultural virtue into their films in order that government bodies can make a moral argument for film financing, rather than a financial one. But if we are going to begin to contribute to the global streaming market, we must refocus on the primacy of entertainment and put the audience first.

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