Veronica Ghent ( Alice Krige) an aging and ailing film star is travelling north to the wilder edges of Scotland. She has booked herself on a solitary retreat there. Having recently had a double mastectomy she needs rest, care and medication. So a nurse,( Kota Eberhardt ) is accompanying her. Ghent is a frail, almost skeletal individual, both physically and mentally at a low ebb.
On arrival she is highly distressed to find the place is full of lots of exciteable, very noisy people. She'd craved solitude, so now wishes to leave. Yet there is much that is strange and mysteriously compelling about the estate where she has arrived. A white haired woman drives around the grounds on a buggy, with a fox following her everywhere. She blithely reassures the nurse that everything will be fine if she stays til morning.
The area has a background history in the making of charcoal and the torturing and execution of witches. So in the middle of the night Veronica finds herself awakened, in touch with elements that are distinctly pagan, possessing an ancient feminine energy. The muddy ground begins to bubble, respond and move towards her. In Veronica's past life as a child star, an old sore re-emerges that requires, not just resolution, but revenge. From the ground beneath her feet emerges something that wishes to heal her soul.
This synopsis is the basic plot outline for what is a quite remarkable full feature debut by director Charlotte Colbert. Hugely atmospheric, extraordinarly complex visuals, beautiful cinematography and creative use of editing. A fantastic score by Clint Mansell does most of the heavy lifting in the conjuring of feelings of foreboding and the magic in the landscape. It's also blessed by the eccentric talents of Rupert Everett and Malcolm McDowell delightfully chewing the scenery. Which all adds to its heightened style with depth and delights.
I absolutely love this film. It's off kilter visual quality is there from the beginning, as the train is filmed travelling northwards, dramatically cambering as it enters into a tunnel. Things develop slowly and gently build as the film progresses. This is not a grotesque jump scare horror movie. It's a haunting, mystically inclined, psychological tale that is carefully paced and composed. Through the rich evocative and artful use of sound and visuals Colbert has created another world within this one, that totally captivates you from start to finish. It's a film that will no doubt bare repeat viewing.
CARROT REVIEW - 7/8
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