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TIFF Review: Jeremy Saulnier’s ‘Hold the Dark’ is Beautifully Bleak

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Hold the Dark Netflix

Hold the Dark is the latest film from extraordinarily talented director Jeremy Saulnier (Murder Party, Blue Ruin, Green Room). It’s a harsh, bleak, and visually stunning thriller set in the sparse isolation of a small Alaskan community. Saulnier’s previous films have also focused on isolated communities, but Hold the Dark is by far the largest in scale.

In Hold the Dark, we follow writer Russell Core (Jeffrey Wright – Westworld, Boardwalk Empire), a retired naturalist and wolf expert. He receives a letter from young grieving mother Medora Sloane (Riley Keogh – Mad Max: Fury Road, It Comes at Night) whose 6-year-old son was taken by a wolf pack that has already claimed three other local children. Medora asks Core to come to Alaska to kill the wolves as local authorities have made no steps to help the isolated (and mostly Indigenous) community.

When Medora’s husband, Vernon (Alexander Skarsgård – True Blood, War on Everyone), returns from the Iraq War, the news of his son’s death ignites a violent chain of events that drags Core into a vicious heart of darkness.

via IMDb

Written by Macon Blair – who has also appeared in all three of Saulnier’s previous feature films – and adapted from the 2014 novel by William Giraldi, Hold the Dark is wonderfully economical in its exposition.

As an audience, we only see and hear what is needed to tell the story we’re immediately faced with. Still, the information we are given is extremely limited and mostly implied. Lines are subtly dropped that allow the viewer to piece together other points in the backstory, but Blair makes you work for it, and much is left open to interpretation.

It adds a layer of mystery that echoes the emotionally closed nature of the characters on screen. We gain just as much from the silences as we do the dialogue.

In the interest of keeping this review spoiler-free, the only point to be discussed regarding the plot will be to say that it unfolds in a way that keeps the audience searching for these clues. Visual cues and bits of dialogue cycle back and give an attentive audience more to unpack.

via Metal Underground

The limited daylight in Alaskan winter plays a large part in the atmosphere of the film. The disorientation of a seemingly endless night works in sharp contrast with the overwhelming light of a bright sun on snow.

The film is permeated in darkness; the limited light creates that impression of a harsh cold that you can feel in your bones. This lack of warmth is felt through the characters – there’s a palpable tension and quiet anger lying just under the surface.

One particular confrontation between police chief Donald Marium (James Badge Dale – 13 Hours) and fury-filled local, Cheeon (Julian Black Antelope – Penny Dreadful), simmers with a taut but controlled rage. Every performance in the film is incredible, but this head-to-head had the whole TIFF audience on edge.

The characters of Vernon and Medora Sloane have an unnatural, masking calm that is as captivating as it is unsettling. There’s something about them that you’re never quite sure you understand, which makes them fascinating to watch.

via TIFF

The way that Saulnier shoots scenes of violence is extremely effective. He captures the horrific and gruesome acts without lingering long enough to glorify them.

The result is just as stomach-churning without being gratuitous, and it mimics the way we often naturally observe brutal injuries – we glance long enough to register, then turn away to process.

Think of the arm injury or stomach slit in Green Room, for example. You can remember exactly what they look like, even though each are only visible for 1-2 seconds.

via Netflix

The beautiful but isolating wilderness of Alaska is cleverly used by Saulnier and cinematographer Magnus Nordenhof Jønck (A Hijacking). Though shot in Alberta, Canada, the message is the same: we are insignificant, and nature is beyond our control. 

Hold the Dark wraps around concepts of parental trauma, isolation, neglect, and our own personal nature. There are different sides to every story, and in one way or another, we’re all villains here.

 

Hold the Dark arrives on Netflix on September 28th.

via Netflix

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‘Strange Darling’ Featuring Kyle Gallner and Willa Fitzgerald Lands Nationwide Release [Watch Clip]

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‘Strange Darling,’ a standout film featuring Kyle Gallner, who is nominated for an iHorror award for his performance in ‘The Passenger,’ and Willa Fitzgerald, has been acquired for a wide theatrical release in the United States by Magenta Light Studios, a new enterprise from veteran producer Bob Yari. This announcement, brought to us by Variety, follows the film’s successful premiere at Fantastic Fest in 2023, where it was universally praised for its creative storytelling and compelling performances, achieving a perfect score of 100% Fresh on Rotten Tomatoes from 14 reviews.

Strange Darling – Movie Clip

Directed by JT Mollner, ‘Strange Darling‘ is a thrilling narrative of a spontaneous hookup that takes an unexpected and terrifying turn. The film is notable for its innovative narrative structure and the exceptional acting of its leads. Mollner, known for his 2016 Sundance entry “Outlaws and Angels,” has once again employed 35mm for this project, cementing his reputation as a filmmaker with a distinct visual and narrative style. He is currently involved in adapting Stephen King’s novel “The Long Walk” in collaboration with director Francis Lawrence.

Bob Yari expressed his enthusiasm for the film’s upcoming release, scheduled for August 23rd, highlighting the unique qualities that make ‘Strange Darling’ a significant addition to the horror genre. “We are thrilled to be bringing nationwide theatrical audiences this unique and exceptional film with terrific performances by Willa Fitzgerald and Kyle Gallner. This second feature from talented writer-director JT Mollner is destined to become a cult classic that defies conventional storytelling,” Yari told Variety.

Variety’s review of the film from Fantastic Fest lauds Mollner’s approach, saying, “Mollner shows himself to be more forward-thinking than most of his genre peers. He’s clearly a student of the game, one who studied his forebears’ lessons with adroitness to better prepare himself to put his own mark on them.” This praise underlines Mollner’s deliberate and thoughtful engagement with the genre, promising audiences a film that is both reflective and innovative.

Strange Darling

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Sydney Sweeney’s ‘Barbarella’ Revival Forges Ahead

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Sydney Sweeney has confirmed the ongoing progress of the much-anticipated reboot of Barbarella. The project, which sees Sweeney not only starring but also executive producing, aims to breathe new life into the iconic character that first captured audiences’ imaginations in the 1960s. However, amid speculation, Sweeney remains tight-lipped about the possible involvement of celebrated director Edgar Wright in the project.

During her appearance on the Happy Sad Confused podcast, Sweeney shared her enthusiasm for the project and the character of Barbarella, stating, “It is. I mean, Barbarella is just such a fun character to explore. She really just embraces her femininity and her sexuality, and I love that. She uses sex as a weapon and I think it’s such an interesting way into a sci-fi world. I’ve always wanted to do sci-fi. So we’ll see what happens.“

Sydney Sweeney confirms her Barbarella reboot is still in the works

Barbarella, originally a creation of Jean-Claude Forest for V Magazine in 1962, was transformed into a cinematic icon by Jane Fonda under the direction of Roger Vardim in 1968. Despite a sequel, Barbarella Goes Down, never seeing the light of day, the character has remained a symbol of sci-fi allure and adventurous spirit.

Over the decades, several high-profile names including Rose McGowan, Halle Berry, and Kate Beckinsale were floated as potential leads for a reboot, with directors Robert Rodriguez and Robert Luketic, and writers Neal Purvis and Robert Wade previously attached to revive the franchise. Unfortunately, none of these iterations made it past the conceptual stage.

Barbarella

The film’s progress took a promising turn approximately eighteen months ago when Sony Pictures announced its decision to cast Sydney Sweeney in the titular role, a move that Sweeney herself has suggested was facilitated by her involvement in Madame Web, also under Sony’s banner. This strategic decision was aimed at fostering a beneficial relationship with the studio, specifically with the Barbarella reboot in mind.

When probed about Edgar Wright’s potential directorial role, Sweeney adeptly sidestepped, merely noting that Wright has become an acquaintance. This has left fans and industry watchers speculating about the extent of his involvement, if any, in the project.

Barbarella is known for its adventurous tales of a young woman traversing the galaxy, engaging in escapades that often incorporate elements of sexuality—a theme Sweeney seems eager to explore. Her commitment to reimagining Barbarella for a new generation, while staying true to the character’s original essence, sounds like the making of a great reboot.

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‘The First Omen’ Almost Received an NC-17 Rating

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the first omen trailer

Set for an April 5 theater release, ‘The First Omen’ carries an R-rating, a classification that was almost not achieved. Arkasha Stevenson, in her inaugural feature film directorial role, faced a formidable challenge in securing this rating for the prequel to the esteemed franchise. It seems the filmmakers had to contend with the ratings board to prevent the film from being saddled with an NC-17 rating. In a revealing conversation with Fangoria, Stevenson described the ordeal as ‘a long battle’, one not waged over traditional concerns such as gore. Instead, the crux of the controversy centered around the depiction of the female anatomy.

Stevenson’s vision for “The First Omen” delves deep into the theme of dehumanization, particularly through the lens of forced birthing. “The horror in that situation is how dehumanized that woman is”, Stevenson explains, emphasizing the significance of presenting the female body in a non-sexualized light to address themes of forced reproduction authentically. This commitment to realism nearly landed the film an NC-17 rating, sparking a prolonged negotiation with the MPA. “This has been my life for a year and a half, fighting for the shot. It’s the theme of our film. It’s the female body being violated from the inside outwards”, she states, highlighting the importance of the scene to the film’s core message.

The First Omen Movie Poster – by Creepy Duck Design

Producers David Goyer and Keith Levine supported Stevenson’s battle, encountering what they perceived as a double standard in the ratings process. Levine reveals, “We had to go back and forth with the ratings board five times. Weirdly, avoiding the NC-17 made it more intense”, pointing out how the struggle with the ratings board inadvertently intensified the final product. Goyer adds, “There is more permissiveness when dealing with male protagonists, particularly in body horror”, suggesting a gender bias in how body horror is evaluated.

The film’s bold approach to challenging viewers’ perceptions extends beyond the ratings controversy. Co-writer Tim Smith notes the intention to subvert expectations traditionally associated with The Omen franchise, aiming to surprise audiences with a fresh narrative focus. “One of the big things we were excited to do was to kind of pull the rug out from under people’s expectations”, Smith says, underscoring the creative team’s desire to explore new thematic ground.

Nell Tiger Free, known for her role in “Servant”, leads the cast of “The First Omen”, set for release by 20th Century Studios on April 5. The movie follows a young American woman dispatched to Rome for church service, where she stumbles upon a sinister force that shakes her faith to its core and reveals a chilling plot aimed at summoning evil incarnate.

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