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Overview
With a name like housewife, you’d think this is a mild movie. A horror movie? Nah.
Well, hang tight, buttercup, we’re about to go off the rails.
Things start off not too bad – well, except for the disturbing sex. Then they devolve. And then there are the flashbacks, or dreams, or memories, or whatever the heck they are.
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https://www.imdb.com/title/tt6464678/?ref_=ext_shr_lnk
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Transcript
Stephen: [00:00:00] today we have a movie from the same guy that did Baskin, which is one of the, for me memorable movies.
Rhys: Ann Everal. Yeah. I believe this was his second major length motion picture.
Stephen: So how do you do after making a very disturbing movie? And see how disturbing this one is. Yeah. Yeah. All right. So housewife, you said Everal and I mentioned Baskin. It is definitely one of the more memorable movies we’ve watched, especially the end, the creepy little guy. But what stuck out to me was how he did it, what you said about they would just show up, jump out of the van, record, jump back in and get going For the cops come.
This one definitely seemed a little different. And it was English if nothing else.
Rhys: Yeah, it was a real interesting. Real interesting dive for me because there’s not much information about this out there. And you know this happens when [00:01:00] every once in a while we’ll pick a movie and there’s not enough about it.
So you can’t go to IMDB and find out a bunch of information ’cause there isn’t any, right? So I have to go to like direct source material, like interviews and things like that, which I don’t mind. And you get a better feel for it. This came out in 2017.
Stephen: And with that’s actually a conscious choice on our part.
I said, we don’t wanna do Nightmare on Elm Street. We don’t wanna do the newest Halloween or Scream seven when necessarily everybody talks about those. Everybody sees those, yes, they do. Big numbers. I’ve done a small little review for the Nosferatu that came out in December.
Just a few little things. Not a major portion of what our website and what we do is, but that got a lot of hits. Just ’cause it’s new and relevant. These, we get those people that like us. I don’t know anything about this movie. Oh, here’s these guys talking about. That’s kinda, I haven’t heard of this movie, but it’s worth watching, yeah. That was our focus. [00:02:00] So it’s a purposeful thing.
Rhys: Yeah. This actually was his response to Baskin. And I hadn’t actually put, I had seen this before. I hadn’t put the two together like this until I heard him in an interview. He was saying oh no, it wasn’t even him. It was a reviewer who was pointing out that in Baskin you have this powerful supernatural cult organization.
But they’re quiet, they’re hushed, they’re underground, you can’t see them. And here you have a powerful supernatural cult organization, but they’re out in the bright, broad daylight. They’re like, just flaunting it to the world. And I thought that’s an interesting contrast.
Stephen: Yeah.
Definitely.
Rhys: Alright,
Stephen: so
Rhys: tell us a little
Stephen: bit more about it
Rhys: here. It premiered in the US at the Brooklyn Horror Film Festival, which I thought was interesting. Not just the US and all in North America, that was, its it, not that the Brooklyn Horror Film Festival, there’s anything wrong with that.
It’s just [00:03:00] small, this isn’t the Toronto Fright Fest or anything like that. This is a much smaller setup. It runs an hour and 22 minutes as opposed to baskins hour and 37. It’s not 10, 15 minutes between the two. It did festival tours worldwide, so its total box office was $8,500 about as opposed to Bain, which ran 318 grand.
And then also, it was mostly small shows and things like that. And then a periodic. Theatrical thing, but
Stephen: And then that’s what makes some of these interesting. ’cause people haven’t heard of them and it does make it a little difficult. Sometimes they get a hold of it. Streaming may get it, for a month and then for a b, can’t find it again.
Yeah. But I’ll shout out to Tubi since we lost Netflix. Tubi has really come through a lot to save us with a lot of these.
Rhys: The first time I saw this was on Tubi, and it’s not there presently, but it was there when I watched it it was [00:04:00] nominated for three awards. It won one, it won the best director at Monster Fest.
Baskin was nominated for 15 and it won five. So a little more heralded. And here’s another rabbit hole I’m gonna send you down for the rest of your afternoon. He based this on a short film he did, called to my mother and father. Okay. And not unlike Baskin or the date. Like a ton of his shorts are on YouTube.
You can just look it up and watch it. And to my mother and father, it might be six minutes long. It’s pretty disturbing. Parts of it are I hesitate to say this ’cause people might take it the wrong way, but parts of it are almost humorous. I don’t know. It’s a weird one.
Stephen: Okay. Yeah, I’ll have to definitely go check that out.
Speaking of that, it just reminded me, by the way terrifi with Art The Clown? Yeah. There’s the very famous Hollows Eve short movie that’s part of that. [00:05:00] But I discovered an even earlier one that was almost like a student project that I found. So if you’re interested I’ll point it out to you that he’s not really in it a lot and there’s a really weird, person, creature in it. So I was like, oh, I like finding all these things where they come from that you really don’t hear about a lot. Still looking for that final Todd, the book of evil animation, someday. Yeah. So anyway, sorry side note. My brain jumps. Oh no,
Rhys: it’s good. He had said the Baskin, when he did Baskin, he was focusing on very masculine energies.
And so in this one he wanted to focus on a feminine base. Which on the one hand I can see ’cause he has like some. The main characters are female really. I still don’t know that they have any kind of agency or anything like that. It’s not a feminist piece, so don’t go into it thinking that.
Stephen: No. Yeah, because, we had the cops and they were in [00:06:00] charge and Yeah, even in the, scary situation they was, she really was being drug around through the movie. So
Rhys: she was, and we’ll talk about that here in a little bit. He really wanted to study dreams and confronting childhood trauma and mission accomplished.
Yeah, I think when I watched this, the first time I saw it, I was like, that was weird. Like you do with any kind of ever all film. But when it was done I watched it the second and the third time I’m sitting there going, you know what? I don’t know that this was really as horrible as it seems because it seems like it was all a dream.
Like you don’t know where in the movie, like in the first third of the movie, like the dream starts, but you’re not exactly sure where that is except you know for sure where it is. You just don’t know where it actually begins.
Stephen: Yeah, and we can bring that back up at the end because, [00:07:00] man, if you thought the end of Baskin was disturbing.
Rhys: Yeah. He said that this was a love letter to the gao, Italian GAO films. Oh, cool. And you can definitely, there’s that one scene where she is entering the dream state coming down the steps and there’s the book there and it blows open. I’m like, oh my gosh, that is Daria or Chantel right there. He also cites de Palmer and Anderson.
As also influences on him for this. Oh,
Stephen: cool. Lot of good names thrown about there.
Rhys: Yeah. The film to, in his eye was all about style. He wanted to make it feel like dreams, experimental, yet beautiful so that, when you’re looking at it, it’s a visual feast, even if you’re not sure what’s
Stephen: going on, which I think is great because it’s a low budget movie.
And again, we don’t need $500 million to make it look good and to be a good movie. Yeah.
Rhys: He also said he [00:08:00] loves it when he can make a film that will stick with the viewer after they’ve seen it. Back to that the whole concept of slime. That Sartre thing where you know it’s stuck to you.
You can’t get it off of you.
Stephen: Yeah.
Rhys: The cult leader Bruce, in this film is based on Joel Osteen, he said. Which, okay. There’s a lot that can be discussed there. I can see it. He says that the film’s visually stunning. You can’t not look at it and be like, wow.
Because he does the same kind of kiro thing with the red and the blue and the blacks when he shoots this, which makes for a very dynamic, very deep kind of feel to it. The main actress I thought did a good job. But there were times where I got lost in the plot the first time I saw it, and I think it was because my mind was wandering, [00:09:00] it didn’t hold my attention like Baskin did.
Stephen: I could see that. It, there was a lot of, we, we talked about this a lot too, but there was a lot of what is going on and where is it going? It wandered a little bit and it was, like you said, I have only seen it once. I, if I go back now a second or a third time, and you pick up different things.
But the problem is you have to enjoy it enough the first time to want to go see it unless you’re recording a podcast.
Rhys: Yeah. It’s a confusing, very crazy, very weird, but in a good stylistic way type of film. Yeah. The act main actress does a great job, the direction. Beautiful.
It’s stunning. It’s a very solid piece. It, my biggest criticism for this film is that it is his first English language film and almost no one in it is an indigenous English speaker. And you can tell because like we were talking about this with motherly where, [00:10:00] sometimes the dialogue seems stilted and it’s, in my guesstimation it’s just ’cause they didn’t have enough time or money to do all the takes they would need to get the performance they want.
I think in this case everyone performs well, but they’re speaking the language in a very stilted manner where they’re saying things that. I don’t wanna say they’re wrong, but it’s not how English speakers talk.
Stephen: It was like when I read the the Witcher books I said, these seem interesting, but I’m, it’s hard to get through.
And I think it was the cadence of the sentences. It was just a bad Polish translation. Yeah. So could be, yeah. I could see that with this. Except, it wasn’t translated, wasn’t dubbed. But they covered some of that with a lot of stuff going on where there wasn’t lots of talking,
Rhys: yeah, for sure. It just, it was one of those kind of things where, I can’t remember which one, which movie we were talking about, where you were like, he should have had somebody else look at it. Yeah. I think Jan would’ve been better off [00:11:00] if he had an English speaking person read through it and say, we wouldn’t actually say that, in casual conversation kind of thing.
Stephen: But even that’s difficult ’cause translators. Just try and translate what’s there. They don’t necessarily put together the sentences
Rhys: right as
Stephen: much, like flat out writing.
Rhys: Yeah. Yeah. Everal, again, you wanna go back to Baskin if you want a big in depth into him. He did two other feature films after Housewife.
One was called The Girl With No Mouth and the other one was called s And he is got one upcoming film. And I’m gonna slaughter this and I’m gonna slaughter a lot of names and things here. I apologize. Cam sfa, it’s a remake of a Spanish film titled Lata Comor. So yeah, so we have a Turkish director who is remaking a Spanish film, which we don’t know that one either, but.[00:12:00]
That’s his latest project he’s working on.
Stephen: Again, with some of these guys, it’s good to hear that they keep doing it and they’ve done it forever. Oh, for sure.
Rhys: Yeah. Yeah. He’s definitely a director who should keep going, it’s not wow, you’re just throwing your money away because, there’s so much, there’s so many places to go from here.
It’d be interesting to see how he matures as a director over time.
Stephen: And it’s funny you say that ’cause there’ll be people that’ll watch this movie and go, what the hell is this? Why did I watch this movie? They don’t get it. I thought it was going to have this big, scary creature, and that’s so against what we usually try and watch. Yeah. Of course. I watch plenty of the other stuff too, on the side. But for the podcast we try and keep that integrity and quality of the film choices.
Rhys: Yeah. Clementine Po Dots plays Holly. She is a classically trained actress from Paris. Holly was not a native English speaker.
This is gonna become a trend you’re gonna see here. She’s acted in 53 projects. They’re almost all French. Including [00:13:00] titles like Maria Antoinette. She had a six run episode on a show called Spin. She was in the movie Shut In with Naomi Watts and Charlie Heaton. I don’t know if you saw that.
He’s, I haven’t seen that one. He’s a catatonic youth. She was in 12 episodes of the National Geographic Mars series and not
Stephen: living on Mars.
Rhys: No
Stephen: that’s what it’s about. Oh,
Rhys: it’s about, but she wasn’t
Stephen: actually there, it wasn’t filmed on location,
Rhys: correct? Yes, it was not filmed on location.
She’s got two upcoming projects. She’s got an episode of 37 Seconds coming Up, which is a show I don’t know anything about. And she has a film called Low Diablo or The Eyes of the Devil. I’m assuming it’s French. But that’s Clementine Po. Who plays Holly Ali AXS plays. Tim. Or Tim, they refer to him that way too.
He’s a [00:14:00] Turkish actor. He is been involved in nine projects. His biggest he was on cast for 67 episodes of a Turkish television show called Ebb and Tide. Oh. Which is a long run for, even back in the day when we were kids, that would be three seasons,
Stephen: yeah. And we talked about it, Turkish cinema is really just starting to come into its own and come out.
So to be on a show for that long.
Rhys: Yeah. He’s been in five feature length films like the Mountain Antidote, IMU, they’re all Turkish films. Although there’s a film called IMU and the us it was a partnership between the US and Turkey. And he was in that as well. David Uri plays Bruce. He’s Danish. His mother was a Danish artist named Berta Bo Uri, and his father was Japanese.
He speaks [00:15:00] Dutch, Japanese, and English, and he lives in LA presently. Wow. He’s one of those guys who is, as his page likes to point out, he’s acted on five continents. He gets around. He’s been involved in 51 projects from television series like Avatar, the last Airbender, the latest live action version.
The man in the High Castle. Iron Fist. He was on Iron Fist.
Stephen: Oh, to go look that one back up.
Rhys: He’s also been in movies like The Last Demons Layer, dark Samurai, Iza, the Fox Ferry, acts of Vengeance fantastic Beasts, the Crimes of Griddle Wald. And he did voiceover in the latest Assassin Creed, shadows latest.
Stephen: Cool. Yeah. I love when we get all these movies listed that you haven’t heard of so much. It’s I hope people are taking notes and looking some of these up, because some of ’em be pretty good. I be Oh,
okay. Go
Rhys: ahead. He I like it when we have upcoming projects that we [00:16:00] mention and then like they become like a big deal. But, he is got three upcoming projects. One’s called Keoki, one’s called Undead, and one’s called Ashes. One Heart to Kill the Sequel, right? Yes. Alicia Cap plays Valerie.
She’s a French Canadian from Montreal and she’s been involved in 13 projects. One could
Stephen: get a 14th. One Hurry.
Rhys: Yeah. One is a Canadian film called Rear View. The other nine television shows and three films are all Turkish. Wow. So she’s a French Canadian from Montreal who has basically gone to Turkey to work in cinema.
Stephen: Interesting.
Rhys: Yeah. And that’s really, that’s pretty much all the pre-production notes I’ve got in the cast. So we’re gonna go ahead and start talking about this weird ass film.
Stephen: Yeah. [00:17:00] Which if people are looking for it, I think it, we got it and saw it on a prime, I think it is right now, but I don’t know how long it’ll be there.
Shutter, maybe it was shutter on Prime, I think. Oh, okay.
Rhys: The film reminds me of Baskin at the start because Baskin starts with children and traumatization, and this is children and being traumatized, but this is much more traumatic Yeah. For the child than in Baskin, because in Baskin, the kid, he hears a noise, he sees this ghostly hand, he screams and.
This is not
Stephen: that, that we’re aware of. It doesn’t seem like it. Yeah. Yeah.
Rhys: I think this part is solid.
Stephen: Yeah. Yeah. There is a section of this that comes back later that I found interesting I’ll bring up later. But
Rhys: yeah, it opens with the the, her mother, Holly’s mother praying in what looks like a church, but it’s more like a chapel or a little nook in their own [00:18:00] house.
You can really see eval’s love for the northern Renaissance period with the painting that she’s praying in front of. ’cause it’s got that dark heavy feel that you get with Rembrandt and that kind of thing. Yeah. And it’s a stern old woman with this medallion around her neck. The medallions become a thing in this movie.
Stephen: Yes. And the picture made me think of Barnabas from Dark Shadows.
Rhys: Yeah. Then you have the two girls having a conversation. And this was like, as soon as they start talking, I’m like, these aren’t people who speak English. I one of the girls who’s drawn this picture, which at first when I saw it I was like, oh, I’ve found some secret thing that this is like showing you what the end of the film looks like.
But they like blatantly tell you that at the end of the film. But it’s a picture of what looks like almost like a stick figure with their arms up and like tentacles coming down out of the sky. It’s not a pleasant kid’s picture. [00:19:00] This isn’t like mom and dad in a puppy in the park.
Stephen: Yeah. And I thought, the same thing.
It’s oh, here’s the gun, it’s gonna show back up. And I’m like, how the hell is this going to tie into the movie at the, and I think, it’s one of those things, we showed it to you early, but you forget about it ’cause you don’t see how it ties in.
Rhys: Yeah. And then you have, he wanted it to be feminine.
You have feminine issues right away because the girl just starts having her first period ever.
Stephen: And how disturbing for her, the mother freaks out about it,
Rhys: Yeah. Something’s up with the mom ’cause they’re like, is mom? Mom’s talking with the visitors. And she only ever does that when dad’s not around.
And it’s what? So Holly starts screaming for her mother to come and help her sister, whose name is Hazel. And her mother comes in and starts freaking out and takes Hazel with her and tells Holly to stay in her room and close her eyes and count to a hundred and don’t come out. Yeah.
Stephen: That’s a, okay, that’s a weirdest.
[00:20:00] You talk about what makes things horrific, what makes horror right there? How disturbing was that whole thing there,
Yeah.
Rhys: And there’s a thing with the girls’ rooms that becomes a theme in the future because there’s this kind of blanket fort that Hazel has made that she hangs out in, and then there’s a whole raft of creepy ass dolls and a giant dollhouse.
And all of these elements come back later, but, this is the room that she’s in and she, I don’t know how far she got to counting when like all of a sudden there’s, she has this doll with a head that ratchets. And it. Makes a noise and she looks and it’s down there lying on the floor with the open door and she’s oh, she didn’t count to a hundred.
Stephen: The dolls are very disturbing. Like in ghostland incident in a ghostland, that’s
Rhys: what I thought too. Yeah. Yeah. A lot of that feel. So she walks downstairs calling for her mother the whole time only to come into the bathroom and find her [00:21:00] mother drowning her sister in the toilet
Stephen: like a rat.
I mean it, it’s, it again, how disturbing can you get in this movie?
Rhys: Yeah. So the mother like, starts yelling at Holly and she’s got this ceremonial dagger. She pulls out of nowhere, un sheath it, and starts walking off hunting through the house for Holly, who is meanwhile hiding herself.
She’s this, she’s got an umbrella and she’s like hiding behind a curtain. And she’s looking through the curtain and her mom’s not there, and then her mom’s right at the window outside. Ah, jump scare.
Stephen: Yeah. And I will say we don’t watch a whole lot of movies that have too many jump scares.
That’s true. That’s not a typical thing. And I, every now and then you’ll get those ones that it’s oh, it’s gonna be a jump scare. And it’s not. But there are a few occasionally, and this one fit fairly well. Yeah. You knew it was kinda coming. It was like for a kid yeah.
Rhys: Her mom says something about visitors be gone, with the [00:22:00] dagger.
She’s just raving. Yeah. In the middle of this empty room. And she tells Holly, forgive me, I have no choice. And she’s got the dagger in the air ready to like stab Holly and the door opens. It’s her father, and her father comes running in and tackles the mom. And the mom basically. He doesn’t tackle her, just goes in and starts to wrestle with her, and then she just slices his face open and just kills him.
Stephen: Yeah, it was a bit awkward up a fight. It’s really That’s, it was like, okay, I’ll accept what they’re doing. But it was done awkwardly.
Rhys: He falls on top of, he falls on top of the mother pinning her, under his weight on the floor as Holly stands in the doorway screaming. That whole part where his body’s on there and she’s framed in the doorway again, right out of Italian GAO films.
That is so typical. The shots were all really well framed, really well composed, aside from the [00:23:00] language and maybe that little fight scene, I thought the whole start of it was, it was good. It was interesting to sucked you in.
Stephen: Yeah. And it’s, and spoil, alert, like everything, it’s not quite what it seems.
Rhys: Yeah. Now we cut to, oh, the credits housewife, the letters come creeping in, one’s creeping down, the other’s creeping up, and they nestle together to spell out housewife. Now we see a woman lying on a bed. This is Holly. She’s having sex with her husband. And she doesn’t really seem to be all that into it.
Stephen: And let me say, talking about horrific parts, this. Whole movie had some of the most disturbing sex scenes ever, and made it seem like it was just this horrible thing and it made it that much more creepy and disturbing. And this isn’t the only instance of that in the movie.
Rhys: No. And we’ve talked about it like how French films can take anything and make it seem sexy.
You can even look at, [00:24:00] martyrs, which is a horrible film and still be like, eh, that is kinda sexy, just the way they’re sitting there. And this is not the only film that we’ve had where it’s yeah, there’s sex going on, but there’s nothing erotic about it. No. She heads to the bathroom.
She will not use a toilet because of the traumatization of seeing her sister drown in one.
Stephen: And I loved what he did here with this because she does it more than once, but they don’t flat out have a conversation and explain it. It first it’s what are you doing? And then it dawns on you. He does a little focus on the toilet, but not an, like a focus and back, it again, we talked about before, I’m not making this for a dumb American that I have to hit over the head.
And that’s what it came, it was done by.
Rhys: So she goes in and she, when she’s at home, she pees into the bathtub which she does
Stephen: I dozen every now and then. But, this is common with her. [00:25:00]
Rhys: Yeah. And it’s a real good way to tie back in. Oh, we don’t know. This is Holly for sure, but that’s oh, okay.
I can see how that developed from what she’s witnessed as a child. So now, for certain that it’s Holly she has that ratchet head, creepy doll hidden in it. Somehow she has birth control pills. So you see her take one of those. That’s not how birth control pills work, by the way, kids.
Stephen: No. They it could have been the time she should have taken it anyway.
Rhys: Yeah.
Stephen: But it, it shows again that she’s doing this the way that she did it. It’s behind whoever the guy’s back is essentially. Yes. Or maybe, he is always one night stand at this point. We don’t know
Rhys: but there’s a reason she hides them.
Stephen: Yeah.
Rhys: She’s outside splitting wood. You can see their house.
It’s this big, modern looking thing, although it’s got the largest fireplace I’ve ever seen in a modern home. Like the old European castle kind that you can just [00:26:00] walk into. That’s how big this fireplace is. Yeah. She goes to the grocery store, she focuses on the children and they really disturb her.
In fact, she’s checking out and there’s a child having a fit and it like causes a panic attack in her. So she walks outside and she’s going to catch her breath and she finds a mirror, like a side mirror from a car that’s in a snow plowed chunk of snow. And she pulls it out and cleans it up and takes it with her.
Stephen: And all of this, I think was done very well To show you show this is that little girl, she was traumatized by what we saw. And this is, again, it wasn’t beating you over the head, but it dang. But it was go away. But it was definitely showing you who she was and what happened afterwards.
Rhys: Yeah. And my whole thing was, what’s going on with the mirror? What you gonna do with that? It turns out it’s not really anything. She takes it home and [00:27:00] breaks it and makes a dollhouse mirror out of it. And I’ve seen people do that kind of thing in other stuff. Hereditary. She’s making all the little tiny furniture and stuff
Stephen: I do find it interesting that, some snowplow ripped off some guy’s mirror.
Rhys: Wow. I never even thought of it that way, but yeah. Yeah. You shouldn’t park in the street when there’s snow. Yeah. You’ll learn. They have this large meticulous home that she lives in. She is meticulously cleaning everything, cooking food.
Her husband, for lack of a better term he’s got a studio space and it’s not really clear until later. He’s either painting covers for books, but you find out later what it is he writes the book and he does the cover art for it. So he’s just like, all around renaissance man. And he’s, some of his paintings look suspiciously, like that little kid drawing from the start of the film. And [00:28:00] again, the dialogue between the two of them, it struggles, but
Stephen: It always gets the what’s needed across.
Rhys: Yes.
Stephen: Without going too far that, that I think that could have been the mistake is making the dialogue and stuff even longer and it’d become torturous.
Rhys: That was the two things that really bothered me about this film. And I don’t wanna say bothered oh, this is trash. It was not like that. But the two things that annoyed me the most were how stilted the dialogue seemed. And again, not through performances, not through takes, it was just not comprehending, the native flow of English.
And then Bruce O’Hara, the cult leader, is if you could have negative numbers for your body fat index, he would be like a negative 10.
Stephen: Chris Jones or whatever from motherly or, yeah. No, not motherly. The big tall guy that does all the oh. From incident of Ghostland. Was that No, not was it [00:29:00] incident?
Rhys: Yeah. ’cause the big guy is ACT was actually like some huge hulking superhero looking dude. Okay. Yeah. I He was legitimately in such good shape. It was distracting. Starting to feel your age. There reason No, I no, I don’t think, I don’t think my age had anything to do with it. It was just, but those were the two things about this film that annoyed me the most.
That’s all it was. Yeah. Yeah, for sure. She’s making dollhouse furniture. She takes that mirror piece and puts it into a full length mirror for the dollhouse. She’s pretty happy about it. She dances around in front of it. Then she looks at this pile of dolls, which is reminiscent of her as a little girl, and all of that joy seems to be sucked out of her right away.
And.
Stephen: The dancing was as stilted and awkward as the dialogue.
Rhys: Yeah, a little bit,
Stephen: How would I look?
Rhys: So she seems to be depressed and then she starts fantasizing about a woman and [00:30:00] chalk it up with Sentinel. Here’s our second favorite female masturbatory scene in a film.
This one was more disturbing than the other one because as she’s masturbating, she has these intrusive thoughts of her mother drowning her sister. Yeah. And then she just kinda seems to be unsatisfied, curled up on a ball on the floor at the end, and I’m just like, wow.
Stephen: Yeah. Yeah. It really makes you question sex.
Rhys: So in the next scene, she’s lying in a hot tub with a washcloth on her face, obviously needing to unwind, relax, whatever. And then there’s a quick cut to a noisy bar, and we have Holly and Tim at one side of the table and then two other people who I don’t even think get names. They do have lines, they speak, but they don’t actually have names.
They’re apparently friends. It’s the third anniversary of Tim and Holly’s wedding. [00:31:00] So he’s her husband. He says he and Holly have decided to have a baby. And if you think back to the birth control pills, you’re like, have you really
Stephen: gives that look of Oh yeah.
Rhys: And the guy with the red hair and the beard, I, he actually came across as an actual authentic English speaker just because there was no hint of any kind of accent or anything to the way he was saying things. He brings up the ULM, which is the umbrella of love. The mind group and they’re in town and these guys are gonna go check this out.
And Tim’s eh, because it turns out the books Tim writes are about the supernatural. Yeah. So this is old hat to him. And it’s just just another one of these freaky little popup cults. Not a big deal.
Stephen: When we watched that Lovecraft one with the Triangle Cult that was in the hospital, this movie reminded, it made me think [00:32:00] of duh.
We’ll find out later more. Yeah. But it made me think of that one a lot throughout it.
Rhys: We’ve already established that. She has issues with kids and some kid outta nowhere comes up and pulls her hair in the restaurant.
Stephen: That
Rhys: was awkward too. That seemed okay, whatever. Yeah. Some parent comes to take the child away.
Then we cut to a scene and we discover that she doesn’t ever really seem to sleep because we’ve never seen her lie in bed with her husband where she doesn’t just get up in the middle of the night and leave. She’s in his studio looking at sketch which
Stephen: is also what we talked about.
Is this really happening? Is it hallucinations? ’cause she’s not sleeping, it could it’s almost that setting it up to one of those mystery stories where it could be this, that, or the other thing, and they set up all three, hints of it.
Rhys: Yeah,
Stephen: that’s what I thought of this.
Rhys: She’s in a studio.
She’s looking through sketchbooks and newspaper clippings and that childhood drawing from [00:33:00] the day that, her mother went nuts. Just, she hears this noise, she hears this noise, and they cut to an outside scene. And you’ll probably appreciate this, for lack of a better term, there are these jaw like figures creeping up towards the house.
Yeah. And you’re like, what in the world?
Stephen: The evil twin doppelganger jaws.
Rhys: Yes. And they don’t actually come back into play for a while. You just see those two coming towards the house and then nothing about them for a while. She finds that room with a weird little blanket for it. It turns out this is her studio where she makes the dollhouse stuff.
And she’s in there and. The blanket looks a little weird, and she’s looking at it and all of a sudden there’s this hand on her shoulder and a voice, and it’s Valerie. And she’s it’s just me, it’s Valerie. And okay she mentioned Valerie when they were out the other night. Apparently they were roommates at some [00:34:00] point in time.
A little more than that. We cut to this day scene, and they’re in that room and she’s talking to Valerie by the Dollhouse, and she shows her a photograph of her and Tim and Holly together. They all lived in the same house
Stephen: And this whole scene. And with this, I was like, okay, is that person real or is it just in her head?
And, it, it hints at all of that. At first.
Rhys: So we had this conversation with Baskin where you had three realms. You had the real world you had what was in the young police officer’s head, and then you had hell, right? This movie does not give you any delineation because she’s sitting there having a conversation with Val and then suddenly wakes up lying on the floor of her studio to hear Val and Tim talking downstairs.
Val has just arrived. So it was like that whole scene before was a.
Stephen: Yes. That the way you just said that, that’s exactly [00:35:00] the whole, the movie throughout the whole thing it’s done and it really makes you think, and you could have a whole especially because of what the end of the movie is a whole discussion on what is time and space and, the flow.
Maybe it actually is all real, but it’s happening in different realms or timelines or something.
Rhys: It’s that there’s a YouTube channel that does animated deep science conversations called Kurtz Guard. And they recently did something on how your brain actually functions with sensory input.
And it’s fascinating. It’s a fascinating thing, but it like talks about when you’re walking, your brain is actually experiencing the past, present, and the future all at once. And it’s analyzing like how, what just your last step acts, what your present step is doing and what your future step will be.
And it does it all at the exact same time. That’s kinda like this, where it’s like you don’t know what’s the [00:36:00] past, what’s the present, what’s the future? What’s a possible future, right? Is all
Stephen: just made up right. She’s not really married. She doesn’t have a husband or friends at a bar. She’s still just stuck in when she was a kid.
That was a, we’ll wait till the end, but yeah. Yeah. Okay.
Rhys: So they come downstairs and they start talking to each other. Val says, you smell exactly the same and not like in a rude way, in a kind of, oh, so you were those kind of roommates?
Stephen: Yes.
But it wasn’t just them. It was a threesome. Yes. Again, a truffle, it sounds oh, that sounds like a great movie to watch, but it was a disturbing thing.
It’s, so
Rhys: They used the same kinda language that they had in the dream scene in this scene where she’s the universe has brought us back together. And she came to apologize for having disappeared from their lives and to invite them to the ULM rally [00:37:00] that night. Tim’s not excited, but Holly’s okay, let’s go.
She’s not like excited, but she’s not, Tim’s eh,
Stephen: yeah. Considering she hasn’t had much joy about anything in her life to, to say, yeah, I wanna do this with her for whatever. It was like, wow, this is important for her. Yeah. And I don’t even know she knew why, thinking about it,
Rhys: It’s a very fancy venue they’re at and t turns out is part of the family, and that’s what they call members of the inner circle of Bruce O’Hara, and he is the leader of the ULM.
They see their friends from the bar there as well. They’re like, oh hey. And they knew the Val was a member of the family and they’re super excited and they’re like, are the rest of the family gonna be here? So the friends at the bar are way more into this than they just, it’s a passing thing.
Oh, by the way. Holly has to use the bathroom. Valerie watches the door as she pees in the sink. [00:38:00]
Stephen: I like that. Again, it didn’t have to be a discussion, it just happened and that’s what they did. And she’s accepting of it and I found that interesting.
Rhys: If they’re roommates, she knows she does this kind of thing.
So yeah. Tim goes outside to smoke. He strikes up a conversation with a guy who’s from Morocco, whose wife is gonna be joining the family. She does dream training. And about now is when I noticed that all of the actual fans of the ULM are there with pendants around their necks. You never can see what Valerie’s is except that it’s big and it’s solid and reddish, bluish, gray, almost like a stone.
All of the ULM peoples is a circle with concentric triangles within triangles. And so the vast majority of the people there have this kind of thing on them. Triangles again. Yeah. We cut to Bruce O’Hara buck naked doing Tai Chi or [00:39:00] some other martial art exercise. And you have Holly there, like watching him do it, and I’m like.
He said De Palmer. And that’s de Palmer’s thing is having people, constantly watching people.
Stephen: And the naked Tai Chi, the last time I saw this was die hard too with the bad guy did it in his hotel room waiting for the phone call. Val, not that I go around looking for naked guys doing martial arts,
Rhys: but if it happens across my feed,
Stephen: yeah, okay.
You never know.
Rhys: Valerie interrupts her watching him like she knew it was happening anyways, and she’s go find your husband. I’ve gotta get ready. And so you have the show itself and Tim says to her something like, this place is gonna get loud because the room seems to be pretty full. The family members come in to thunderous applause and then [00:40:00] the,
Stephen: And this took on that quality of a dream.
This whole thing felt dreamlike. Is it really happening or not? Again, it happens all the time, every scene throughout this movie in some way, sometimes.
Rhys: And there’s that thing about dreaming too. When you’re dreaming, if there’s a crowd in your dream, I think it’s mostly ’cause your brain can’t actually give any of the people personality.
There’s just a throng of people all behaving similarly. And that’s what this is. You have Tim, and you have Holly and Valerie sitting over here, but then everybody else is just like a placeholder. They’re just there to clap and cheer and they,
Stephen: it gets disturbing in later crowd scenes.
Rhys: Yes. You have this language that comes in this voiceover language after the family comes in. And it seems that like the whole point of ULM is there are dreams and you can travel in your dreams and you can travel in other people’s dreams and there’s power in doing so. And [00:41:00] Bruce O’Hara will be your guide.
Stephen: Good old Bruce.
Rhys: Yes. And then he comes out with that. Tech, CEO dancing thing that these guys insist on doing at these kind of shows. It’s you don’t look good, don’t do that. But everybody loved it. Oh yeah. Everybody there. You, because they’re all big fans. It’s like Tim Cook showing up to an Apple thing and all the people, he could try and moonwalk and everybody like, oh.
And it’s no, you look stupid.
Stephen: I’ve actually seen Tim Cook do a keynote. He did not do the dance. No. No dance, no.
Rhys: He has a phrase when he comes out, he is we’re not supernatural. We’re naturally super. I was like, oh, that’s an interesting turn of phrase. Yeah. He says he had a vessel dream again about a very important whi and she’s here somewhere and he holds his hand out, like he is feeling the air like a vibration.
And it’s Holly, of course, he points out that she’s the [00:42:00] soulmate of a family member. Must be talking about Valerie. And he wants to, can I touch you? And she’s no, you don’t do this. And he’s fear is an addiction. And he can sense that she needs healing too. And he takes off his glove and the whole audience goes, Ooh.
Then he takes her hand and she pulls out her mother’s pendant. Like a ward. Yeah. He says it’s you, and he tells her to breathe and he touches her forehead and all of a sudden. She is in the studio with the Dollhouse, and then she’s sitting on the tub like she has to pee. And she’s aware of the fact that this can’t possibly be happening because I should be in a room with a bunch of people and there’s some guy touching my forehead, and then the toilet starts to overflow, but it’s filled with blood.
And as she’s backing up the rate that the blood’s coming out in [00:43:00] creases, and he lets go of her forehead and falls down with the bloody nose and the audience goes wild. And for the life of me, I don’t know why,
Stephen: which again, it made it seem. Almost unnatural. Like it was part of a dream. Yeah. Like she’s still in the dream.
And these scenes where the she is in these dreams really come across as, like you said, the gao influence. They all felt just like that. Yeah. Like we were watching Susperia again,
Rhys: it’s from a, from an outsider’s perspective, he goes up, he touches her for, and he falls down. He is got a bloody nose.
Everyone cheers. You’re like, what for? But maybe they all could witness her dream. Who knows? That would
Stephen: be cool. But yeah it, again, you don’t know all the answers, but there’s lots of disturbing things happening since the movie started.
Rhys: This is the, here’s a little audition tie into it because Tim’s are you okay?
And she’s no, I’m fine. And that’s the end of [00:44:00] it. And then later there’s a scene. In the exact same place doing the exact same thing where he gets drug out by security. So it’s like that whole thing, an audition where it’s here’s what he heard and here’s what she actually said. Kinda of deal.
Stephen: Yeah.
Rhys: We fade cut to Holly lying in the grass while Tim is bitching out. Valerie telling her that Bruce is a conman, she’s rolling a smoke. And she’s no, he is not. And then Holly comes in and she is you guys always fought in New York. This is just like old times. He’s what happened?
And she’s I don’t know. I don’t know what happened, but I feel better. And she has to confess that we were gonna have kids. And look, here’s the birth control pills I’ve been taking, but I’m ready now.
Stephen: Yeah. Suddenly she’s fixed.
Rhys: Yeah. And he asked Holly what happened. He asked Valerie what happens, and Holly’s she doesn’t know.
And she’s are you jealous of being your new boyfriend? And gets really hostile for a second or two before they move past it and proceed to have a threesome. [00:45:00]
Stephen: But again, not a fun porn type. It’s just feels disturbing.
Rhys: Yes. Yeah, it does. And at one point in time Tim suddenly becomes Bruce O’Hara in the middle of it.
And even Holly is disturbed by that. But then he turns back into Tim and,
Stephen: And to mention here where this is going, there is always that level of slipping into madness and this whole thing is that really is like that slipping into madness. But the madness is, the reality is what it’s coming across as.
And I guess
Rhys: that was a later point I was gonna make. But since you mentioned it so well, it’s yes, they’re slipping into madness or they’re slipping into a dream where like they aren’t interacting with the real world, but what if they’re not right? What if that is just what the real world is and
Stephen: how disturbing is that as a thought?
The old parting the veil and [00:46:00] seeing behind it?
Rhys: Yeah. She can’t sleep of course, afterwards. So in this stage, instead of just leaving Tim, she’s leaving Tim and Valerie, they’re both still asleep. She gets up and leaves in there, she heads downstairs, she goes into her studio and looks at the little tent like fort thing and it looks like there’s a somebody underneath it and she peaks and doesn’t see anybody.
And then she sits on the floor and just then one of the jaw springs up from the other side of it runs out. Goes out the sliding glass door and she grabs a flashlight and gives chase into the night.
Stephen: Yeah. Don’t blink. You’ll miss that. I actually looked away and heard something and I had to rewind it to see Yeah.
That actually happened. So the
Rhys: little guy runs into this doorless shed and she comes into their flashlight and she’s sliding the flashlight around and this really felt like Baskin because over there is a bloody form of her mother. Yeah. Nursing a old enough to stand [00:47:00] Hazel. And they’re both just drenched in blood and gore and stuff.
She shrieks and screams and backs out, and Tim and Valerie come running and of course Tim doesn’t see anything in there. He’s there’s nothing in here. But regardless, her mother’s amulet is now gone. And you were saying as Ward, I think it’s interesting that her mother’s amulet disappears for a bit.
Yeah. And that’s when. O’Hara gets his claws into her. It seems
Stephen: right. And he’s definitely creepy. Definitely. But look at it from a different perspective too, from the point of view of the whole family. They’re not the bad evil guys. They’re doing what’s good and Right.
It’s that, that you don’t really see that till the end. Or and if you think about it longer than five minutes after the end, yeah. But that’s, this all seems from her point of view, disturbing and almost evil. But if you look at it from that other point of view, it’s not
Rhys: Well, [00:48:00] and if you look at it from say Valerie’s point of view, here’s this guy who like came in and changed my life and I feel amazing because of it.
You were my closest dearest bond. I want you to experience the same thing.
Stephen: Exactly. But it does. So Valerie’s not leading them astray from a certain point of view? Yeah, I think so. I
Rhys: think that Bruce is leading everyone astray. He has an end goal that he wanted to accomplish. But Valerie went into this with a clear mind, clear eyes, pure heart kind of deal, right?
Yeah. You cut to the day and Tim is sitting outside, he says he looked everywhere for the ambulance. He can’t find it. And then he asks Valerie again, what happened? He’s always asking what just happened and nobody has any answers for him.
Stephen: The guy we’re always a little behind.
Rhys: Yes. And now here is where we really like the whole train.
It doesn’t fall off the rails. It the whole thing slides. Yes. It smears, [00:49:00] mudges. Holly leaves the house from, we
Stephen: perceive as reality. It’s just shifting into a different perceived reality here.
Rhys: Yeah. It’s like doing watercolors and then you add extra water and you just watch it right?
Yes. Holly leaves her house and is back at the venue where the ULM rally was at and it seems completely empty. She’s walking down the steps. This is what I was talking about, being very gao. There is a pedestal at the bottom of the steps with a closed book and suddenly the wind blows and the book flips open.
She gets down there and the book is called Apocalyptic Visions, which is the name of the book her husband is writing and it’s mostly empty, but when she goes back to the last place that had written stuff, it is describing the scene that she is presently in. So in theory, the further she continues on, the more the book will fill in.
She’s walking through this empty space. She goes into the meeting room where the holes. Presentation took place, and Bruce is sitting there cross-legged with a [00:50:00] woman sitting cross-legged with her back to Holly. She happens to be wearing the same color sweater. Holly walks up and touches that woman’s on the back, and then suddenly Holly is that woman sitting down.
So the Holly who walked in ceases to exist, and then the holly who is sitting takes over.
Stephen: Yeah. And what transformation actually happened. You know it, it’s never clear here.
Rhys: Yeah. Bruce says, you’re stronger than your mother, and he asks her to let him take her to her destiny. And then he puts his thumb in her
Stephen: mouth again.
Disturbing. Yeah. Can’t just touch you on the forehead again. I have to have my thumb in your mouth. And she lets him do it. Yep. Yeah.
Rhys: Puts his thumb in her mouth and he touches her forehead and she collapses into her, sho into his shoulder. And now we have a vision of the night her sister was [00:51:00] killed.
She’s counting to a hundred, but Holly is also there as an adult watching this all happen. So she’s counting to a hundred. Then she gets up and she starts walking through downstairs. Adult Holly is coming with her. She heads to the bathroom where her sister was, but her sister wasn’t drowned. After her mother leaves, her sister like gets up.
Then she turns around and her mother can see her and she is the invisible thing that she was saying out visitors be gone. Yeah
Stephen: I loved that part. I loved things like that. I have actually heard of a story of this historically really happening to a family. They reported this with all the conferences I go to, you hear this type of stuff, but I’ve heard it a couple times similar that essentially they were.
When the kid was younger, sitting on the couch in their living room, and suddenly these strangers walked through the door and they all went and the strangers disappeared. Years [00:52:00] later, after the mother died, the kids were walking through as adults and they stepped into the living room and saw them younger selves on the couch, and then the younger selves disappeared.
I, I’ve heard that a couple times. Again, urban legend or, exaggerated. But it reminded me of that because I always thought that was a cool story. And if true, talking about the whole time, relative time and how it all relates to our lives and our perception of it, just one of those fascinating stories for me.
Rhys: Yeah. So young Holly is hiding behind the curtain. She’s got her umbrella and then she startled and she stabs out with her umbrella, hitting Hazel through the eye, killing her, and then all of a sudden Holly wakes up. Into the other dream where she’s with Bruce and she’s you’re a liar. I didn’t kill her.
And Bruce is don’t leave. You’re in a dream. You’ll end up lost in the maze of dreams, Holly.
Stephen: So did that [00:53:00] happen? You gotta wonder.
Rhys: She finds herself in the vestibule. She’s running away. Bruce is back in the other room. And this is one of the more bizarre things in the film to me. He says, I’m not sure if she’s not even sure if it was her dream or not.
And I, he’s not sure if she is the master visitor. And then suddenly his chin goes down to his chest and he is no, she is, you know what you have to do. And then he picks his head back up and he is I’ll do my part. I’ve been ready for this my whole life. Almost like the whole Smeal Gollum thing where there’s two people living in his head.
Stephen: Yes. Yes. Yeah. What demon has possessed him.
Rhys: Holly is suddenly back in her house and from down by the bathroom, she sees one of the jaws. But the hood comes back and it’s Hazel and she’s excited to see her. She’s like Hazel. And Hazel comes running up, she runs up out of frame and then just suddenly springs up as a bloody horrible monstrosity type thing.
[00:54:00] And Holly squeals and collapses on
Stephen: the floor. That was really pretty well done. Saw it wa in the boogeyman, if you remember. Yeah. When we watched that bird thing, that same type of thing. They come running and transform and, the little jaw. Guys, I just thought of this, remind me of the little guys from FSM that are in that movie.
Oh yeah. And that one has to do with time, space and stuff too.
Rhys: Yeah, for sure. Val Valerie’s there all of a sudden she’s you’re okay, and did you go see Bruce? And now all of a sudden we’re back at the ULM rally and this is just moments, and this is where it gets real disturbing this one, just moments after Bruce took his hand off her head and fell down with his bloody nose and she’s just smiling and clapping.
And Tim is standing up asking, what did you do to her? And security comes and drags him off and she just keeps standing there clapping. And that’s that whole thing. Which one of these actually happened? Did he ask? And she’s I’m fine. And everything went on or. Did he [00:55:00] actually have a fit And they pulled him out.
Suddenly Tim is lying on the grass and he is holding Holly’s amulet and I’m like, oh, here it is. The talisman. He is gonna put it back on her neck and everything’s gonna be fine. Hopeful thinking Holly and Val are sitting on the floor of her house when Bruce comes in with an umbrella saying he’s gonna have to abort Val’s journey.
And she’s, and that
Stephen: the word abort after talking about all the kids.
Rhys: Yeah. He tells Valerie, she’s scaring Holly. And he told Holly she’d get lost and he asked her if she’s in the dream again, and he is no, you were lost in a maze. And your only hope of getting out is you have to go to the end of the tunnel, which is like that whole as above, so below where you have to go all the way through to merge on the other side.
Like a birth. Yes. Tim sees an army of jaw while approaching. He grabs an ax and runs inside and he says, I’m gonna take your [00:56:00] head off to Bruce, and comes towards him. And Bruce just touches him in the chest and all of a sudden he like stops. And the fireplace, the fire flares up and the whole place is lit up.
And then he puts his thumb in Tim’s mouth and Tim collapses on the floor. Tim’s but I love her. And he’s no, you don’t. You’re just a bad actor. Which I think is a really rude thing to say to the guy, I thought he was doing an okay job.
Stephen: Yeah.
Rhys: Yeah.
Stephen: And criticism
Rhys: in the middle of your own movie, Holly and Val just look on, as Tim tries to crawl away.
So apparently not a big love loss there.
Stephen: I think her mind’s getting messed with a little bit throughout this movie too. Yeah, we’ll give her that.
Rhys: Bruce picks up the amulet he was carrying and if you thought it was gonna rescue her, no. ’cause he puts it around her neck. So now she’s wearing the amulet and it doesn’t seem to be doing jack for her.
And then all these jaws come into the room. Bruce says, trust me, let go. And he helps Holly to her feet, which is really weird [00:57:00] ’cause he helps her stand up and then she sits right back down again. Like he stands, she stands up in this cut. And then the next scene she sits down. Yeah. And I know what he was doing because she was on the floor and he has to put her on that round hassock thing, but it was just a really weird visual for her to stand up and then just sit right back down again.
Like a bad cut edit. Yeah. She asked who they are. She’s, he’s these are my children. They are born visitors. Val begs him not to do this. She’s you don’t have to do this. She says, it’s my fault I trusted you. And he says, this is Holly’s dream and it’s time for Valerie to wake up. And she says, make it quick, you bastard.
And he proceeds to bludgeon her to death with an umbrella. And blood’s flying everywhere. It spatters on the children. They all start laughing.
Stephen: Ha. We talked about alternate realities and realms. It’s almost like they know that they exist in multiple dimensions or whatever and she knows this isn’t the [00:58:00] end.
That really starts to feel that way to me and come out like that.
Rhys: Yeah, now we’re back in the rally and everyone is applauding Bruce as Val stumbles on stage, collapsing in a bloody pile, being beaten to death by an umbrella. So she’s out of one dream into another, or maybe that she was just sitting there and all of a sudden she’s just beaten up.
Who knows? Back in the house. Dream though. Bruce starts to bleed. Holly starts to scream and he goes, shh. And all the children quit laughing. Holly wants to know what’s happening, and he is you need to be ready to embrace your new family. And this horn blows in the distance. And Bruce says, the master is here.
You’ve all been waiting for this night for so long. And then Hazel climbs out of the toilet, like the grudge that I said she walks into like ring style is how I put it. Yeah. Ring. And she comes out, she’s [00:59:00] drenched. She seems to be fine until the camera pans up to her face and her eyes are all pale and obviously she’s not right.
And Bruce calls Holly his queen, and that she will be the mother of the second coming,
the two jaws head back into the bathroom and drag out another figure, which at first I thought was Holly’s mother because Hazel had already come out as a child. All of the children start to laugh as they hand him a dagger, and it turns out what they drug out was an adult hazel.
Stephen: Yeah. So again, which dimension, which reality, which timeline are we in?
What happened? Yeah. He takes the knife and then
Rhys: proceeds to cut her face off. Like one does, and then he puts it on wearing it like a mask. I like the squishy sound as you pushed it on too. That was nice.
Stephen: Yes. Yeah, this was pretty disturbing.
Rhys: Yeah.
Stephen: There it was even more disturbing than leather [01:00:00] face.
Very much more disturbing because it’s fresh. Very true. Yes. Watch them peel it off
Rhys: to break the, to break up the block of action here. They keep cutting to Tim in his studio, seemingly blind painting a picture. And he’s painting like the tentacles and blah, blah, blah. The children then all pull off Holly’s clothes and the weird thing is she’s shrieking, but she’s really not struggling that much.
No one’s holding her there. She could have just run off if she wanted to. Yeah. Amu. In between her breasts and then one hand on her belly and a couple of gore soaked fingers into her mouth. And all of a sudden her belly just swells and she’s nine months pregnant.
Stephen: Bang. ’cause let’s make the end result of very disturbing sex be a very disturbing birth.
Rhys: Yes. And then we get these interesting shots of, from a child’s perspective of [01:01:00] exiting the birth canal as she proceeds to give birth. Holly delivers this child to the hazel face wearing Bruce and he hands it to Holly saying, we’re all your servants now. And now there’s a shot of the conference and everybody is clapping as Holly’s walking around on stage as Holly is peeling open the placental sack because she delivered everything intact.
Bruce Flas off a chunk of skin off of Hazel’s back. As a blanket to wrap the baby in.
Stephen: It’s a, it’s like a living omic on.
Rhys: Yes. And then one of those weird ass children comes up to stroke her face, and as she does, her hand turns into this old gnarled hand of the old woman from the painting. She takes her place right next to Bruce.
They both kneel as all the children do, who gets up naked with a newborn wrapped in the skin of her sister, [01:02:00] walks out onto the balcony.
Stephen: You know that sentence right there? You really can’t get more disturbing than that sentence right there.
Rhys: Yeah. She walks out on the balcony, it’s snowing outside, and there’s a whole army of the little guys approaching the house.
Bruce goes out in the snow and peels off his second face and pulls up the shofar and blows and the horn sounds. The green screen wasn’t great.
Stephen: No, this was, the king was not
Rhys: great on this.
Stephen: Yeah. This it was the only
Rhys: thing right here at the end I thought. But in coming outta the clouds are giant tentacles and it’s just like the picture that they drew his little girls.
It’s just the picture that blind Tim was painting and then Holly looks straight down the camera lens smiles and laughs and roll credits.
Stephen: Yes. So if you love Lovecraft, this is one that you wouldn’t have realized it was Lovecraft till that last 30 seconds. [01:03:00] Typical type of Lovecraft type story.
Rhys: Yeah. But it does bring up the whole thing about maybe none of this happened.
Stephen: Again, you’ve seen it a couple times. I’ve seen it once. I can definitely see where it’s you know what? Should probably watch this one again to see if you can figure out what the hell is going on. And the first time I saw
Rhys: it, I’m like, oh, they heralded the end of the world and it happened when this happened.
But then you get into the whole that was actually happening in a dream. So did it really happen or not? And then you start to say, when did the dream start? Yes. And this could be like an incident and ghost laying thing where you go all the way back to the trauma of the girl standing in the doorway watching her mother trapped under her dead father.
Everything else from there on out. It’s just a figment of her imagination.
Stephen: Or it all did happen just in different realities. Yeah. And is the reality we’re living in and we see and witness the real one or half and half.
Rhys: Maybe it was all real up until the point that he first [01:04:00] stuck his thumb in her mouth.
Stephen: Who knows? ‘Cause the way your brain works when you see something, your eyes are just mechanisms. They just see it. Your brain’s what? It interprets it. And we know our brains filter a lot and they say kids can see things that adults can’t because our brains grow and they start filtering.
So what is going on that we can’t see is always a question. I’m like thinking I’m asking and this fit right in with all that. Oh, for sure. For
Rhys: sure. So that is housewife. It’s a. Beautiful film to watch. Yes, there’s very disturbing stuff that happens, but it’s all done in a, it’s all done very well.
Yeah. And if you, and that’s the title for what you get, if you can overlook the stinted language and the fact that the character of Bruce o’ Harris, just way too in shape, it’s actually a real kind of head scratcher when you’re done with it.
Stephen: Yeah. [01:05:00] Yeah. It definitely fits our, Hey, if you’ve never heard of this movie, go watch it.
Rhys: Yeah. If you came here hoping that we’d be able to tell you what the hell just happened in this movie, I’m really sorry to tell you. We have theories, but that’s as good as we can do. Yeah. So
Stephen: We’re way too disturbed ourselves to actually make sense of other people’s disturbing na nature.
Rhys: Yeah. My wife just got me a t-shirt that says, I’m please don’t disturb me. I’m disturbed enough as it is. So
Stephen: that’s
Rhys: hilarious.
Stephen: All right. So there we go. Housewife number 13 and, we just put up a number 11, so we’re catching up to ourselves. We are a little bit, I saw that and
Rhys: I was like, uhoh.
Stephen: Gotta get moving.
Maybe sometime this week if we still get time we could do our next side dish. Side dish. Most dangerous game. But what’s coming up for the main episodes next?
Rhys: We are doing Unwelcome by John Wright who gave us grabbers. I’m looking forward to this. It’s a little lighter fare I think for the season.
It might [01:06:00] be the first one like it. So
Stephen: Yeah. It’s been a disturbing season.
Rhys: Yeah.
Stephen: But yes, grabbers was a fun favorite. I talk about it often. So I hope Kaylee and her guy doing the streaming appreciate grabbers if they haven’t seen it.
Rhys: Yeah. There you go. There you go guys. Go out and get yourselves a copy of unwelcome.
Stephen: Yeah, it’s unwelcome. It has the title that just it sounds as pleasant as grabbers.
Rhys: False. You’re not welcome.
Stephen: Yeah. Alright man. Catch you later. Yep. Take it easy.
