As a seasoned gamer and horror movie enthusiast who has survived countless terrifying encounters in virtual worlds, I must say that Went Up the Hill stands out as a unique and gripping exploration of the human psyche hidden beneath its chilling supernatural veneer. Dacre Montgomery and Vicky Krieps deliver masterful performances that transcend conventional horror tropes, offering instead a profound examination of trauma, grief, and the lingering emotional impact of our past relationships.
Among the numerous horror movies available at this year’s AFM, “Went Up the Hill,” directed by Samuel Van Grinsven from New Zealand, provides an unusual perspective within the genre. Instead of relying on typical horror tropes, it employs a chilling tale of haunting and possession to delve into profound emotional landscapes.
In the movie, actors Dacre Montgomery from Stranger Things and Vicky Krieps, known for Old and Phantom Thread, portray Jack and Jill, two individuals linked by their complex ties to Elizabeth – a mother who abandoned Jack and was once overbearing and intimate with Jill. Following Elizabeth’s suicide, they cross paths at a funeral wake. Jill requests that Jack remain. That night, the spirit of Elizabeth takes control of Jill in order to address Jack. Later on, it’s reversed: Elizabeth inhabits her son Jack to engage with her ex-lover. As Montgomery explains, “It’s like a three-way conversation between two people, where two people are playing the same person.
Here in this scenario, we’re not dealing with something as intense as “The Exorcist”. Instead, Krieps and Montgomery give remarkably understated performances, devoid of eerie voices or excessive violence. They rely on subtle hints to convey the shift between characters. Krieps, playing Jill who is possessed by Elizabeth, becomes slightly more frosty, rigid, and awkward. On the other hand, Montgomery portrays Elizabeth communicating through Jack in a softer, more tender manner, but also with a stern undertone.
This method turns what might have been an overly dramatic piece into a profound exploration of trauma, sorrow, and the lingering influence of the deceased on the living. As Krieps expressed during the film’s world premiere at the Toronto Film Festival, “Upon reading the script, I was struck by its authenticity; it resonated deeply with my own experience following a loss. Even if the person isn’t as damaging as Elizabeth, our past lives and relationships can still hold sway over us. The dead may be physically absent, but emotionally, they linger like ghosts in our midst.
Montgomery and Krieps each utilized distinct fragrances for Jack, Jill, and Elizabeth, to serve as a sensory cue for switching between their performances. “This idea originated from both of us separately,” shares Montgomery, “which gave it an uncanny sense of destiny.” The perfumes created a unique sensory atmosphere on set, with the scent serving as a catalyst, a tangible reminder that prompted memories within your body. This physical cue turned out to be more powerful than anticipated.
The narrative progressively uncovers the harmful relationships in Elizabeth’s life, such as her rejection of Jack, her mistreatment (both physically, emotionally, and sexually) of Jill. The story, titled “Went Up the Hill“, delves deep into emotional depths, approaching the realm of genuine terror. A scene involving a disturbingly non-consensual sexual encounter occurs when Elizabeth takes control of Jack to compel herself on her former spouse, Jill. Notably, Jack is also gay, which adds another layer of complexity and emotional turmoil to this situation.
As a captivated admirer, I can’t help but express my awe for Van Grinsven, whose 2019 student film “Sequin in a Blue Room” first caught the critical eye. His directorial prowess is nothing short of remarkable, as he masterfully wields control over even the most extravagant and outlandish plot points with a finesse that can only be described as artistry at its best.
The film’s unsettling quality comes not from typical horror elements, although it does contain a powerful jump scare at the end, but through exceptional technical skills, impressive crew work such as Robert Mackenzie’s enigmatic sound design, Tyson Perkins’ discombobulating cinematography, and Sherree Philips’ understated production design. Hanan Townshend’s score, characterized by deep, pulsating breaths and otherworldly melodies, maintains a consistent air of tension.
The single most effective special effect is the color-stripped, bleakly atmospheric backdrop of rural New Zealand. The result is one of the most startlingly original ghost stories in years, a scary movie less about supernatural terror and more about the horror of the emotional hauntings we all carry.
Bankside Films is offering the international distribution of “Went Up the Hill”, sharing the rights for North America with CAA Media Finance.
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2024-11-05 16:24