El mito para hurgar a la historia. La leyenda del Dybbuk es excusa para "desenterrar" una vieja culpa. "Demon" será un filme sobre terror, pero es ante todo una metáfora sobre los rezagos de la Segunda Guerra. Almas judías poseen a los vivos como reclamando por esa complicidad ocular (ver Ida). Luego de una resaca, ellos prefieren olvidar lo acontecido y ocultar cualquier rastro que los incrimine. La historia cíclica
Marcin Wrona's final film is an interesting but in the end disappointing effort that attempts to tell a tale of a wedding disrupted by a dybbuk while near drowning in political and social metaphor. The sins of a country's past come home to roost theme gets lost in a film not scary enough to be a horror film and not deep enough to be a work of artistic worth.
A nice beginning that loses itself on the verge of creating climax. Unfortunately I expected a better overall presentation about this wedding gone demonic - it's not scary enough nor deep enough. Again, it's a promising idea restrainig itself to the surface of the genre. Borderline safe cinema.
Demon works as a haunting metaphor, not just because of the tragic suicide of its director, but more due to its sincere analysis. It's a study of the facade of carefree happiness that humans always have to put on in public-- even at their own wedding-- despite their heart's need for honesty and openness due to guilt and regrets from their past wrongs. Ambiguous, but a cathartic and singular, soul-baring experience.
An unusual possession movie for sure but nowhere near horror and suspense save for one or two tense scenes. The movie plays more like a meditation on Poland´s troubled history filtered through a wedding reception which is commendable. Shame that the dialogue sometimes is too on the nose and exposition heavy concerning the subtext of the movie. Production values and acting is strong.
I couldn't parse an overly direct critique in Wrona's eerie story, yet the whole film contains the aura of "collective hallucination", the wilful neglect of horrors past and repeatedly occurring. It veers from situational comedy (so much booze) to realist horror with a deftness that signifies real craft, aided by the stunning lighting and photography. Recommended for fans of 'Melancholia' over 'The Exorcist'.
A really outstanding output from Poland. It excels in its setting (a "horror" film set entirely in a wedding) it excels in its humor and easy-watching (the dancing, the polish humor, the vodka) and it excels mostly in its soft, subdued threat: a possession that harms no one but consciences. To think that someone so well in life could have everything undone just like that... is the greatest horror. More: [cont.]
it's greatest strength is moving fluidly from cautionary tale about marriage (emotional breakdown that comes with it) to a depiction of polish collective consciousness about living in denial about its country's past. also, the humour is a great help looking on the sad horror story from a critical point of view.