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Imon Ross’s impressive first film can be included in a collection of unsettling movies featuring eerie paintings, such as The Picture of Dorian Gray, Ghostbusters 2, and In the Mouth of Madness. Sofia (Natalia Córdova-Buckley), who has become her husband Alex’s (Ryan Kwanten) caretaker, discovers a peculiar painting in the attic of their mansion. The painting is supposedly a self-portrait of Alex’s great-grandfather, but Sofia is shocked to see that it is an exact likeness of Alex. While the gothic storyline and ensuing psychodrama may seem familiar, Ross adds a disconcerting inner turmoil that shows promise for his future work.
Sofia is a loving and patient spouse, but she carries a secret guilt. She caused her husband Alex’s brain injury during an argument. Sofia hopes to trigger his memories by taking him back to their family home, but instead uncovers a troubling past. While inquiring about a portrait, she discovers that her husband’s ancestor was a violent man. As she stays in the house with minimal contact from the gardener Brookes and her eccentric cousin Mags, Sofia starts to feel the weight of her husband’s presence.
Firstly, I would like to commend the artist responsible for the brushwork, which exudes a spectral and foreboding aura. The looming stormcloud of implied violence creates an unsettling ambiguity as to its true origin – whether it be the possibly supernatural markings, deeply buried resentment within Alex, or sublimated from Sofia’s self-flagellating guilt. It is this psychological complexity that gives the film its potency, far surpassing any clichéd jump scares or other typical features found in haunted house narratives. Córdova-Buckley, with her gravelly voice, serves as the anchor of the film and later turns to alcohol and makes a clumsy advance towards the gardener. With her assistance, Ross transforms an old frame into a vessel for a commanding dark energy.
Source: theguardian.com
