Fréwaka

Fréwaka: Bleak Irish Folk Horror involving Fairy abductions, these Fairies however are very much of the Pagan variety and the film has a touch of The Wicker Man about it. In a prologue set in 1973, Mummers wearing straw masks crash Peig's wedding, they bring a goat with .them. Peig goes outside and disappears, her husband Daithi just sees a goat. Dearg Doom by Horslips is playing in the background. 99% of the dialogue in this film is as Gaeilge (in Irish). The present day, we see a woman commit suicide, to be found weeks later. Her estranged daughter Shoo turns up with her pregnant partner Mila, to clear out the apartment. Shoo is called away to care for a now invalid and isolated Peig, locals are reluctant to visit or deliver goods to her. Shoo has to force entry and finds the house filled with metal objects, salt and urine to keep the Fairies out. The cellar door has a horseshoe and other iron pieces attached. Peig believes that she was taken by the Fairies to another house underneath her own and Daithi made a deal to get her back and then committed suicide. Most of the locals are standoffish but one tells Shoo that Peig was in an asylum or Magdalene Laundry. The house itself is a character. A minor stately home, although its furnishings e.g. Stuffed animals would be more typical if those from an ascendency background, neither Peig or Daithi seem o fit that mould. It is large and rambing with the ever present cellar door providing both an attraction and a danger. A visitor might be a Fairy, at least Peig thinks so. Most of the horror here is psychological, it is suggested rather than shown except when Peig and Shoo reveal their scars (both physical and mental) to each other. There are some violent scenes though. Shoo's relationship with Mila also becomes strained. There is a question about how much that Shoo observes is real and we have reason to question it. Goats are a constant motif as is a strange boy, along with Catholic religious imagery and statuettes.. All of the threads eventually tie together suggesting to me at least that there is an occult explanation for the events. As well as Horslips, Die Hexen provides a haunting score. I thought Horslips' version of King of the Fairies would have fitted better than Dearg Doom but everyone's a critic these days. Written and directed by Aislinn Clarke. 8/10.

The mood was set: dreary skies, some new black metal releases (Kommodus, Blood Abscission, Flaming Ouroboros, Blutschwur) providing the soundtrack to a gnawing craving for something dark and unsettling. Fréwaka slid right into that space like a cold blade, and yeah, it was a good call - it delivered.

Aislinn Clarke's the real deal, right? "The Devil's Doorway" was a decent found-footage attempt with its take on the Magdalen Laundries. I was hyped for "Fréwaka," and honestly, she's one-upped herself. This one hits harder than that feature film. Again, she's back with something even heavier-digging into buried history and the wounded past like it's cursed ground that still feels raw.

The two leads, Catherine Monnelly and Bríd Ní Neachtain, are quietly phenomenal, playing women tangled in their own trauma, stuck in this eerie, ancient-feeling Irish village. The film's steeped in something ancient, almost primal energy right from the start. Even the OG Irish title, Fréamhacha ("roots"), gives a nod to a story that feels like something old creeping into the present. The story mainly follows Shoo (Monnelly), a palliative nurse, who arrives to care for Peig (Ní Neachtain), who's battling agoraphobia and dementia. And to push the narrative, we have this mix of pagan dread and Christian imagery which doesn't scream or feel preachy; it's just there. They seep together, superstition bleeding into the mundane. I loved the gender dynamics here - men as the creepy ritualists, women as the leads? Yeah, that hits different.

Now, Fréwaka isn't flawless; that doesn't mean it's bad, though. It succeeds with its horror tropes popping up, playing with the usual suspects (that red door, the horseshoe, the Virgin Mary statue glowing like something's very wrong-those shots stuck with me). I even thought of some shots from "Litan (1982)" and "The Other Side of the Underneath (1972)" - check out my reviews if you haven't seen 'em. Also, The Wicker Man parallels are obvious, and yeah, there's some A24 flavor in the slow, atmospheric dread (plus, that goat in full regalia staring into your soul and at our lady).

It wasn't as bloody and gory as I expected, but it was intriguing and kept me hooked. Just wish the ending hadn't felt so rushed, and the credits sequence felt kinda tacked on. Even the soundtrack, which was mostly good, could've gone darker, weirder with some more experimental touches instead of playing it safe.

In closing, Clarke's sticking to her themes from her first film, carving out her own lane in folklore horror, digging into the same raw, historical wounds as before, and doing what it sets out to do. She's for sure an important voice in horror right now. I'd say genre fans should definitely check this one out. Also, I'd recommend you check out The Devil's Bath (2024) - might make for a good double bill. Despite a few little stumbles in both, they'll probably do it for you.

Saw a screening at the Estonian horror film festival with a couple of friends and it really exemplified how people can see films differently. Two of my companions saw it as a situation of a promising start and a let down second half, while it seemed somewhat the opposite for me.

I liked the start well enough, but for me it really got going and achieved its peaks later on. My companions didn't like the seemingly meaningless long shots in which they felt nothing happened and nothing was really explained, while for me it's something that made the movie better.

Granted, I have a thing for folk horror that is done with some respect for authenticity and reverence towards some aspects of folk beliefs and I love compelling visions of "other worlds" and dangers that are not completely explained. I loved the contemplative tempo and the feeling conjured of how it was all meaningful in a deeper sense, but not quite understandable on the intellectual level. The music, the cinematography and the editing are the true highlights, but it was a great movie for me over-all. Inspired me towards realizing some of my own ideas of supernatural "other worlds" myself in literary or some other form, but as I described with the alternative view of my companions, your mileage may vary. To me it just seems that some people want more precise narratives with more fixed meaning, while I apparently often prefer the opposite, something with as David Lynch would put it "room to dream". For me it didn't manage to go far enough on some regards to get to a 9/10, but it is a very strong 8/10 for me. Hoping to see more horror by the director. She really seems to have a knack for some aspects I value quite highly.

Called away to a remote village, a care worker tasked with looking after a dementia-riddled patient in a remote village comes to suspect something more sinister is going on with her repeated claims of something living in the house that soon proves more deadly than she expected.

Overall, this was a rather fun and likeably chilling slow-burn folk horror effort. Among the better features to be had here is the immensely chilling setup that manages to touch incredibly well on the nature of guilt and loss. The main setup to bring them together involving the need to offer her care in her home in the remote village and bringing about the slow discovery of the terrifying instances within the house that aren't just related to the dementia prognosis she's there to treat makes everything rather straightforward with how it reveals everything going forward. With the revelations about what's happened to her over the years from the others in the village who know about what happened to her and what it meant that led to her current condition which points direct fingers at the oppression inflicted by the Church at women years ago, there's a great base here involving the traumatic past coming back to haunt someone at the present. This is all nicely tied together to the concurrency backstory involving the growing sense of unease that comes about with how the connection to the workers' traumatic past comes into play. Realizing that the entire episode is a means of allowing her to come to gripes with the inappropriate manner in how her relationship with her mother hindered her in the latest stage in her life before her life, the connection allows her to explore the stories being told to her which brings about the discovery of the initial incident that occurred decades ago that left the woman in her care the wreck that she is. Although this leads to an immensely chilling and creepy setup, there's far too much going on before this is accomplished, which leaves the film rather one-sided, as the first half builds everything up with little to no payoff. The film is a bit blander than its setup warrants, with very little happening to denote overt and obvious instances of something happening due to the more subtle nature showcased. It's not detrimental, but it does bring it down slightly.

Rated Unrated/R: Graphic Language and Violence.

While gathering the left overs of her suicided mother's life, a woman is called away on a live-in carer's job for an old woman in an old house in the countryside. Where she finds a red door to the cellar, guarded by folk charms ...

Not really a horror, but a study in generational paranoid schizophrenia - with folk horror influences: The Wickerman and Penda's Fen come through strong in the climax. The plot device is the taking of children by the Sidhe, fairy entities that appear as goats and as humans too - but which are stand-ins for altogether more material demons from the past.

Interesting, with good performances, and some quality cinematography. But it is uneven. Early on there's a really striking image of the hanged mother in her wedding dress; later on, another wedding dress appears, but without any spooky touches - it's just there on a clothes hanger. And the folk horror details weren't delivered with enough style - think of the smile figures in the recent Smile 2 for the spookiness of good choreography. On the plus side, the visiting supervisor was just right in her buttoned down insanity - although her role trailed off into nothing. And the Father Ted style decor reeked of layered-on ignorance and obsession.

The dialogue is mostly in Irish, but lacking in lyricism - there is one powerful description by Peig of the other world, but otherwise the exchanges are quite banal, with lots of Ceart go leors ('alright') popping up. I noticed the phrase Geallaim duit ('I promise you') repeated 3 times, but the subtitles gave the final use a different translation even as the old woman marked it as the third time.

The outstanding element is the music and sound design: industrial folk doom, if that's a genre. Delivered by the mighty Die Hexen.

As a descent into madness, the story is good, but not of the first order since it shows us no way out. Not that the way out has to be taken, but its existence heightens this kind of drama. There is a little post-script after the end credits, which reinforces the theme of taking children, but too little to add extra enlightenment.

Overall: Interesting but uneven. And the title, so I'm told, is a phonetic version of the Irish for roots.