Nothing happened for 50 some-odd minutes. I went in without seeing the trailer and I prepared myself for a really disturbing film. You had the typical fare, movies about demons and hauntings, and then I came across the description for this movie. I was looking though a list of the best foreign horror films of 2018. Eklof scrutinizes Sascha so well that emotion emerges by merely understanding the circumstances of her lush and expansive prison of a life. Yet Eklof maintains a closer relationship to her central protagonist than the bulk of Seidl’s work, which tends to take a more abstract approach. At times, the rhythm of certain scenes and the unsettling bursts of violence may as well have been directed by an algorithm designed to replicate Seidl’s aesthetic. Eklof maps out Sascha’s world with despair and dark humor, as a thick current of social commentary courses beneath every tense moment. However, it’s not a wholly original vision: Eklof clearly adores the intimate tableaus of Austrian provocateur Ulrich Seidl, whose movies often wrestle with the contradictions of a materialistic society where beauty and depravity often work in tandem. “Holiday” is a fearless work, anchored by Sonne’s bold, subtle performance, which keeps her motivation unclear until a burst of developments at the startling conclusion.
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May 2023
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