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Antrum
In 1979, a Eastern European film called "Antrum" was released, which
enters history not for its beauty but because anyone who saw it, died
or seriously risked his live. It happened, for example, that a cinema
in Budapest went on fire killing audiences. The film was removed from
cinemas.
In the nineties it was recovered and shown in a San Francisco cinema
and on that occasion a collective hysteria, perhaps caused by a evil
joke of a cinema employee, caused a victim (a pregnant woman) and
several injured. Several Festival curators who had thought of screening
the film also died.
Now, some producers have taken over the film, which over the years has
been modified by anonymous persons who have added some images, but in
any case, these producers have decided to show "Antrum" to all of us,
after disclaimer relieves them of all responsibility.
Prime Video also takes the opportunity, perhaps because of your fucking
purchases, Jeff Bezos has decided to delete some customers Do you still
want to continue? Well, I would do it, because the premises of this
American film, although we are in 2020 and we have seen many fake are
really well studied. A burning building, interview of historians and
experts to tell us the facts, before the incisive disclaimer. Then the
film begins. Main titles partly in Cyrillic bring us to a scratched
film with a 35mm aesthetic, in which the aforementioned frames "added
later" are inserted which are short moments in black and white,
splatter or dark / threatening.
The story tells of two brothers who go to a wood with magical powers to
dig a pit that leads them to hell where, according to the mother (a
good person), there is the dead dog of the two. This gesture opens the
classic Pandora's box, unleashing evil forces.
We don't need to talk about the plot anymore, also because
“Antrum” is not a horror in the strict sense of the word,
it is more a visual journey, a nightmare and in essence an aesthetic
exercise.
The evil forces, for example, are for the most part anthropomorphic and
mark in chapters a descent into hell that is not of fire and flames,
but is collective madness. Drawings, noises, Latin phrases,
incomprehensible moments follow one another and increase in power with
the passing of the minutes, up to an almost total madness in which even
the spectator is lost.
Psychology and aesthetics, therefore, in a film that would have worked
even without the intro and the closing notes, thanks to a disturbing
atmosphere cleverly created by raw and imperfect films, but above all
to the excellent music by Alicia Fricker, which weigh down the already
great discomfort.
The director is David Amito, who work more as an actor in the past and
who also writes the screenplay and the story and Micheal Lacini. The
cast features theatre actress and voice actress Nichole Tompkins and
the young Rowan Smith in the role of the two brothers.
