A Lullaby opens the film.
Two young boys play looking for each other in cornfields, exploring caves and traveling through woods.
There is a lake in front of the house and they bathe.... Elias always looks for Lucas and calls him.
They see a car coming and return to their house all designated with blurred images of woman. The mother is back has her face bandaged and her new behavior makes him doubt that it is really her.
She imposes very strict rules, is aggressive and anaffective.
The curtains must be closed, no visitors in the house; the boys collect bugs and she has strange behavior.
They spy on her, watch her, and she pretends to be asleep.
A guy comes by and fills the fridge with pepperoni pizzas.
She inspects their room and attacks Elias. They have a cat and find it dead...they put it in the aquarium and she throws the cockroaches in.
They look for evidence of their mother's identity and she greets them one morning without bandages and as if nothing had happened.
Now the game starts to get even tougher....
Crucifixes, skulls, ghostly landscapes, red herrings of a paranoid script...
The drama will be unveiled and nothing further from banality will be the outcome of the story. A dramatic, fuzzy architecture with claustrophobic features penetrating the epidermal fabric. Familial love, this stranger, is all about a relationship of forces and violence.
Who will dominate the situation? Who is responsible for what happened? What balance of power is there in families? More importantly, what existential dramas lie behind the news events?
A film that curdles the blood, that corrodes the body without letting go; a film that keeps lingering in front of your eyes, those eyes that often deny seeing what has been widely seen.
Mattero Russo
Stephane Brizè
Yorgos Lanthimos
Roy Andersson
David Wnendt
Lais Bodanzky
