Perhaps the best example of the slow-burn pace that you can find in a horror film. It's also maybe the best holocaust film that has nothing to do with the subject as it seems to be inspired by the tales of the operations that occurred in those camps. Though that could just be Godwin's Law for all I know. Either way, it's second only to Clayton's THE INNOCENTS as my favorite horror film (Shit's all over the SHINING).
Delivers on most fronts, save for a couple weaknesses in the music and plot. The weakness in the latter being the police force. But great performance from the lead actress; great ending; great atmosphere; great symbolism. A very solid film, overall.
Una familia ultrajadora de rostros, evento muy bizarro pero que no la coloca a un nivel gore, incluso se esfuerza por no encarar el horror que lleva en el rostro la hija de la familia, aquella que es recluida en las alturas de una casa que comunica pisos y cuartos que no parecen terminar. El final es primero inexplicable, enfermizo, luego se torna cuerdo y al final es lírico. Una paloma en la mano, libertad.
Like a dreamy horrifying Cocteau horror film, this classic had no scenes to waste, a horrific surgery scene that's still hard to watch, and fantastic visual storytelling with plenty wordless moments where you could see this almost working as a silent film.
Beautiful, haunting and a true cult classic. Christiane Génessier walking trough the night like a ghost with her masked face its both a haunting an poetic image that will stay with you for a long time. A movie that was clearly ahead of its time and that still has a powerful approach making a horror movie filled with authentic dramatic and poetic elements, haunting visuals and both unsettling and beautiful shots.