This art of cinematic horror has undergone some changes through the several years. Filmmakers have molded the idea towards an evolving form of storytelling technicalities to provide elevated fear-factor in all aspects of the craft – editing, visuals, scenery, sound etc. – its become some sort of harsh manipulation of various facets with regards to making sure moviegoers keep a desperate a higher level suspense and intrigue.
However, the irony here is ripping off one particular tactics, and you have Silent Home. A rehash of any Uruguayan film titled ARE GENERALLY CASA MUDA (QUIET HOUSE) – an ingenious dismantling of perception of how a filmmaker creates an unrelenting horror/thriller in real time.
The ass-kicking momentum heres that Silent House is told within a continuous camera shot, following Sarah (Elizabeth Olsen) through her horrifying encounters after a stay at a summer home over a single evening. Wherever Sarah goes the camera follows – along with the audience – as the lady tries to untangle herself form a vile web of memories related to her past, while mysterious figure(s) constantly watch above her.
The original movie and story will be based upon true events that occurred in the 1940s within a village in Uruguay. With intensive research on what inspired the Uruguayan piece, directors Chris Kentis and Laura Lau really are a team familiar to unique projects entailing story difficulties and trickery production work
Mimicking a psyche-based taunt through Open Water, Silent House can be a film that has diverse layers which entail thoughts of intruder, then haunting, which leads to a reasonably demented twist. The magic in this particular three-ring-circus of mental dysfunction of the story, is its 85 second run, a little over 1 hour is all one shot! One take! One motion takes you over the house, out and back inside. For this ONE special approach alone, I respect what went on in the making of the film.
Inevitability always exists, so as delicious as this film could possibly be with dark tones connected with ones misfortune, it was kind involving low on scares as well as visually it was a little too dark for me. When I say dark, I dont mean story, Im talking about the look. There were many scenes within the film which were fully dark and sound-based, which did make you use your imagination during a number of Sarahs screaming and/or cell moments. Whether or not it was done on purpose well never know, but I did find myself cringing sometimes wondering what were the images on camera.
Second to the films darkness, I think it would have to be Elizabeth Olsen. Shes done her thing inside realm of theater and films – racking up respectable credits – nevertheless if I had to indicate a "weakness, " itd have to become scenes where she cried. Hardly panned up-close-and-personal, I noticed her cries resembled laughter for some reason. Her acting was quite decent – no topple – but her crying needs to be worked on. On more than one occasion I discovered myself falling in/out of feeling on her behalf, or embracing scenes including scares. Shes got screen existence, a good sense of where and once her characters demands are contacted and nice cleavage regarding added pleasure.
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