sorry for the mistakes!
You laugh even before seeing it
because this is a British horror comedy with zombies. And they made
good movies. And even the tagline is "A fucked up fairy tale." Laugh.
There is a printed smile on the face, from the earliest images. After
twenty minutes, it becomes an astonish and terror expression. The same
that have the two protagonists when from the sheets a hand grasps a
foot of one of the two.
An expression that gets worse during the vision. Because "Nina Forever"
label or not, is not a comedy. And maybe even the definition of horror
when referred to the collective imaginary is a little 'tight. But so it
is, there's a zombie and there's blood. There is death. There is love.
And it’s a horror.
"Nina Forever" is a film that surprises the viewer. A film capable of
hit inside everyone, to go beyond the horror and the zombies. Able to
reflect on the human race but also about themselves. That’s what
should do every good movie.
But apart from the intense sense, on which we will return, "Nina
Forever" is notable for a perfect realization in every detail. The
brothers Ben and Chris Blaine after a long career in the short debut
with this feature movie in which they didn’t leave anything to
chance. A simple but very effective direction, marries a dazzling
editing made of fast flash-forward that in addition to removing
unnecessary moments increase the anxiety and interest. Same result gets
the excellent livid and crepuscular photography by Oliver Russell,
coming from the world of advertising. Last, but not least there is the
soundtrack chosen with precision and which emphasizes all the important
moments of the history of Nina, contrasting sometimes with sour irony
images, or by adding a load of emotion. A heterogeneous comment that
put together Adam Faith, British pop singer of the sixties, with the
lightweight "What Now" to New York electro pop of "Pearl And the Beard"
and "Liquid Liquid", with sounds of Mary Carlyle and many others up to
two songs of Amanda Palmer. The American singer-songwriter is already a
good character, we can say that would be at home in this story and
lends to the film "Astronaut" (film backbone) and "Want It Back".
And then of course there's the story. Dense, intense, dark and open. "
We wanted to make something that was fantastical and magical but true
to our own
experiences of loss and love and that urge to help people. We were also very keen to
capture the quiet suburban English landscape that we grew up in, but place in the middle
of it this explosion of craziness. We wanted to look at a bunch of emotions that don’t
get much airing in public ", say the two brothers and their goal are largely achieved.
Already on the opening credits we learn that there was a motorcycle
accident. Serious. Then we find Rob, a wild-eyed guy who works in a
supermarket and apparently attempted suicide because his girlfriend
Nina, died in the accident. Holly studies paramedics and works in the
supermarket too, where she met Rob, the only thing of note there.
The two falls in love, they end up in bed and while they are making
love, Nina comes out, literally, from the sheets. Bloody, destroyed,
gloomy. Beautiful and sarcastic. A blow not just for Rob and Holly.
Even for the viewer. Holly after some hesitation decided to tackle the
problem. Rob tries in every way to get rid of Nina who regularly
reappears in their lives and in the bedroom. Rob must forget the dead
girlfriend. Holly tries to insert her (or reinsert) in their
relationship. They treat her badly. Anything. Nina forever.
And when it seems everything clear, here opens another wound, deep,
impossible to heal. The already ascertained loss of affection, the pain
of death, plus the morbid and spasmodic need of care, to want to help
at all costs others.
It’s not easy to manage a story like that, a story of love and
death that binds with sex. Nor is it easy to use zombies in a different
way from usual. The brothers Blaine stay away from banality. They
succeed also thanks to three actors, little known outside the United
Kingdom and Ireland, which create three perfect characters. Abigail
Hardingham interprets willing Holly that seems at the mercy of events
and alternates naturally brave moments at times when she is scared. The
Irishman Cian Barry is Rob, the one from whom everything passes. A
character disillusioned, sad, on which weighs a sense of guilt. And
finally Fiona O'Shaughnessy who gives power and depth to Nina. Lanky,
bleeding and sometimes excruciatingly ironic. A great character who
pushes this film to be one of the most interesting films seen in recent