matheusmarchetti

I'm somewhat embarrassed to admit, though I come from Brazil, I am not very familiar with my country's cinema, let alone horror films. But if "As Filhas do Fogo" (which translates into "Daughters of Fire") is any indication of the hidden gems that await me, then they get MUCH less credit and admiration they deserve. In fact, this film has not even been released in VHS around here (though ironically, there are rumors it was released as such in the US), and I only came to watch it via a torrent of a television broadcast of it in poor shape. It's a pity really, because not only I found it way better than what I've seen from Coffin Joe, but it's one of the most haunting, ethereal, and downright frightening ghost stories ever made IMO. Akin to José Ramon Larraz's "Symptoms", another forgotten macabre masterpiece, "As Filhas do Fogo" is the story of a lesbian couple staying at a secluded house in the countryside. They become acquainted with a mysterious family friend who claims to record the voices of the dead. Soon enough, these three characters find themselves haunted by the ghost of one of the girls' mother, and the line between this world and the next becomes more and more blurry, escalating to a totally nightmarish finale that echoes Mario Bava's "Kill Baby Kill". Director Walter Hugo Khouri was no stranger to the genre (his 1973's "O Anjo da Noite", though I'm yet to see, is one of the country's most important horror films, and apparently, a strong predecessor to "When A Stranger Calls" and "Black Christmas"), and the atmosphere he creates has rarely been rivaled. Whenever the mother's ghost appears on screen, the mood is often melancholy and sad, with use of some Mozart pieces adding to the gloominess of it all. Much of the horror, however, comes from the dialogue (one scene where the medium describes the afterlife as a place of sorrow and bitterness is a disturbing highlight) and nature imagery, with eerie use of it's locations: the vast, deserted countryside with bleeding trees, howling winds, dark ponds and colorful vegetation. Khouri takes a "Picnic at Hanging Rock" approach by having most of the characters being descendants of European emigrants, and therefore strangers in their own land. Their surroundings seem to stare at them, beckoning, controlling their every move. It is only the governess - a native of the region - who does not succumb to it's mystical powers. There's also a bit of folklore added to good measure near the ending, when the girls stumble across a mysterious celebration lead by a masked stranger. It is possibly the scene most people remember from the film, and a remarkably creepy moment. The performances are excellent all around. Paola Morra and Rosina Malbouisson are great as the couple vulnerable to events that they simply cannot explaim. It is, however, the supporting actors that give the most impressive, scene-stealing roles, particularly Selma Egrei as the mother, who never utters a word and mostly just stands staring, but whose strange, bewitching looks and screen presence dominates every scene she's in. It's simply impossible not to get chills down your spine whenever she's on screen. Overall, this is a magnificent creepy gem I'm glad to have rediscovered, and truly hope more people will seek out and appreciate. If you're a fan of subtle, scary horrors like "The Haunting", "Let's Scare Jessica to Death" or "Don't Look Now", this is the film for you! 10/10

No, this is not another European cash-in on "The Exorcist", unlike what it's title may suggest. It is, however, the most disturbing and shocking Jess Franco film I've seen. Hell, it is one of the most disturbing horrors I've seen, which is surprising considering this is a virtually bloodless film. It's horror relies, instead, in it's totally demented instances of psychosexual hysteria that can also be found in works such as "Possession" or "Dr. Jekyll and his Women". Franco haters tend to dismiss his work as amateurish and crude, and this criticism can be applied, in a way, to this film in particular. However, in this case, it works in favor of the film, coming across as making it's raw, gritty atmosphere all the more authentic. André Bénichou's haunting, experimental score also adds a lot to it. And for those who think Lina Romay has little to do in the director's works other than having to masturbate in close-ups, her performance here is a truly stunning tour-de-force that has to be seen to be believed, up there with other portrayals of sexually frustrated women in horror films, such as Catherine Denueve in "Repulsion" or Mimsy Farmer in "The Perfume of the Lady in Black". Her sex scenes with the equally bewildering Pamela Stanford (the titular villain), though graphic, are anything but sexy, and her final, extended "intimate" sequence is bound to make your jaw drop to the floor, not only because of what is shown, but also because of it's context. And that's not even the film's most shocking bit to begin with (anyone who's seen the film know about THE particular scene I'm referring to, and I dare not spoil it for those who haven't seen it). "Lorna the Exorcist" seems to have some kind of popularity with Franco haters, so I beg you to give it a shot. Even if you don't like it at all, one can't deny it will haunt you for days to follow.