This daring and disturbing arthouse horror from first-time characteristic director Juan Diego Escobar Alzate feels prefer it may very well be set someday within the nineteenth century. It’s a few tiny non secular cult based mostly within the wildly stunning Colombian mountains: the group’s chief is El Señor (Conrado Osorio), a farmer who seems to be like a cowboy within the Clint Eastwood mould, with a macho growl; his trio of daughters put on frontier prairie clothes. But we have to be nearer to the current day: in an early scene the eldest, 23-year-old Laila (Andrea Esquivel), brings him a Eighties cassette participant that she has discovered within the woods and she or he is spellbound by this unknown contraption. El Señor says the satan lurks inside.
It’s an intriguing set-up, and cinematographer Nicolás Caballero Arenas shoots the luxurious panorama by what seems to be like a trippy filter; blazing sunsets and garish rainbows give the movie a quasi-fairytale, virtually surreal really feel. El Señor has raised his daughters in whole ignorance of the world outdoors their group of a dozen or so. But the movie is depressingly skinny on the ladies; typically it appears extra thinking about arranging them in arty tableaux than investigating the best way that isolation has formed their personalities and the way they see the world. The wafty Terrence Malick-ish voiceover written for Laila doesn’t precisely fill within the psychological gaps.
One evening El Señor, a brooding, violent man, brings a blond-haired boy of about eight to the farm. He says the child is Jesus and chains him outdoors by the neck like a farm animal within the freezing chilly to check his principle. It’s placing picture, and there are lots extra, however the film is oddly missing in warmth or depth. I additionally discovered two scenes of brutal violence towards girls troubling: Alzate’s gaze all the time drifts again to El Señor; he’s the thing of curiosity quite than his daughters.