SCORETOBER!!!! Day 14 The Eyes of My Mother!!

Day 14

The Eyes of My Mother

This is one unfortunately I don’t see a lot of people talking about. Which really is unfortunate. Although, it does make sense, once you’ve seen it. This is more of a….hm.

It’s not a surreal film, it’s more of an, well. Experiencing an evolving nightmare.

I will only say this once, and please do take it to heart. If you honestly have no intention of seeing the film then please do read on. If you haven’t yet? You should. It’s not something that fits my typical narrative of writing while I watch but it’s just something I really feel people should see for themselves before discussing. It is not by any means a happy movie, it’s a very slow burning relentless nightmare that just drags you through the mud, and keeps going, building and building on each last nightmarish vision and topping it. So know that before going in.

It's also in black and white, which is stunning in the film. It’s not on the detail level of The Lighthouse, and it’s certainly no Fury Road, it looks as convincing as it needs to be.

This is also one of the first films where after having watched it, I immediately bought it, and the soundtrack. Which is why of course we’re finally talking about this film I saw a good long while back.

Enjoy and lets make it through.

The Film

Well why not begin with something that makes no sense to anyone just yet am I right? Truck driver, making a truck drivers living, hauling what truck driver haul, on a truck driver pay. Only today a little different. There’s a woman stumbling around in the middle of the road. For all we know there could thirsty folk in Atlanta, and he’s haulin beer from Texarkana. So this would obviously put him in a bit of a bind! Well unfortunately we’ll never know what he was hauling, or if he got there in time. But what we do know now. Is he has stopped to help this stumbling woman in the middle of the road and is rushing back to his cab to make some calls.

So lets put a pin in that for now, and have ourselves some backstory. Provided by the first chapter the film likes to call.

1.       Mother

Which, as the title suggest. Is all about a mom. A mother educating her daughter on their farm. She’s teaching her about basic gardening, and religion. Mostly explaining St, Francis, and how he was the first saint to experience the Stigmata, also. About how he died from an eye condition that caused Psychosis, Mother(Diana Agostini) tells her daughter Francisca(Olivia Bond) what she feels to be an important lesson from all of this, that. “Loneliness can do strange things to the mind.” She discusses the crown of thorns he has and just as it was about to get good. Mama has to warn Francisca to be careful running her fingers around the statues head and thorns, but she either is a rebellious kid, or just wanted to see what happens, as she ends up breaking off several thorns and cutting her finger open.

Well before we can linger much on that, it’s time to fast forward a bit and go to another important lesson from mama.

Like how cows eyes are exactly like human eyes. The only difference is their size. The Portuguese she explains, used to practice medicine on cows, but now, now its practiced on people.

She explains this to her, while a cows head sits on their dinner table. That the mom begins taking apart. Which yes, involves cutting the eye of the cow, and letting her daughter examine the ‘lens’ of the eye, informing her how everything we see passes through this. Which, aside from butchering and then dissecting the cows head. Is genuinely interesting. Her mom isn’t wrong in the head, as far as we know. She practiced medicine with a specialty in eyes. We’ll go with that.

But its not all fun and dissecting farm animals. No. Sometimes, its just fun. Like Francisca is enjoy sometime after this event, by playing with her favorite doll in their front yard.

I still can’t tell you where this takes place exactly, though our next character does help in that department a little bit. The family lives somewhere in America. They’d transplanted there from Portugal. Where it is likely her mother had learned all this as she explained somewhat earlier, for those wondering.

So who is our new character? It’s an odd American man, in a white shirt with curly hair and a strange little giggle. He’s watching Francisca playing outside. No he is not a pedo, and no he is not going to kidnap her. He’s just an odd guy, who’s looking to chat a little, and when her mother comes down to check on things, he politely ask to use their restroom before continuing on his way.

Well her mom is not unsafe. She tells him her husband will be returning any moment and he should be quick about using the restroom. He’s thankful for this information and her allowing him to empty his bladder. Although he does have to press on her about how quickly her husband will be along as she told him she expected him back any second, and here it is he’s still not back.

This begins to worry her and the man can tell. He begins nervously giggling again and approaches her, asking if she’d mind showing him herself to the restroom instead of giving him directions. She’s not happy with this and especially her decision to have let this man into her home. He insist again to her, that he needs her to do this for him and to help him. When mom doesn’t answer, but instead hugs her daughter closer, he giggles and smiles, this time deepening his voice, “Ma’am, I’m trying to be polite. Now, we can try this one more time before I start becoming unreasonable.” And with that, the mother and daughter find themselves in a nightmare. The man pulls out a gun, ask Francisca to sit down at the table, and instructs the mom to go with him to the bathroom.

As this happens, we find out mom was not lying after all. Her husband was due back any time. He’s driving up to the house in fact. He finds Francisca sat at the table and ask her where mom is. She simply points and dad wonders down the hall and toward the bathroom. The whole time we can hear repeated thumping and a man giggling, As the door opens? We only see a glimpse inside. And the glimpse we get, of what dad sees when walking inside the bathroom. Is the giggling man named Charlie(Will Brill) sitting on the floor beside the bath tub, where moms body lays, and he repeatedly bludgeons her head with an object. It’s done rather quickly. But its just enough that your mind fills in the blanks, and you know what you are seeing, but long enough to show you anything. Only enough for you to fill in that gore yourself.

It's a beautiful shot, and scary as hell. But we’re only getting started.

Francisca plays outside as we see her dad dragging out of the house, the body of Charlie on a tarp. Which he then drags into their barn. After having done so, dad decides it’s time for a nice drink and a little television to relax and decide what to do next. Francisca tries talking to her dad, but he’s not responsive. No one really knows where his mind is at. Until he follows his daughter upstairs to her room after she’d left their living room, and ask her for help. “I need your help with mother.”, and with that. Young Francisca is helping her father move, and then bury her mothers body.

Surely this will have no poor effect on her growing up.

Well, actually. None of it seems to be effecting her. Oddly enough. Speaking of oddly enough. We haven’t even begun to get odd. We’re approaching that very, quickly though, at least one stage of.

As the father and daughter duo chill out watching television, relaxing and seeming to finally try to settle in and let things…sink in. We begin hearing a distant but familiar voice, calling out to Francisca, “Franny…fraaaannny!”, yes. Charlie, the man who came to their home and murdered mom, is alive, in their barn. Does dad get up to silence him and tell little Francesca to not worry?

Hell no.

He tells her ‘You will have to take care of him and silence him.’

Well that is. That is just special, and a lot to put on a girl! So apparently dad is just a little…not right in the head as well. Or dad has plans.

Well she takes to this task literally, cleaning him and stitching his wounds. Helping to heal him, and feed him. Her father keeps him chained to the floor in the barn. Laying there he ask Francisca if they’re going to kill him. It’s rather chilling. Not his asking, or knowing his death was coming. But that when asked, Francisca informs him they aren’t going to kill him. She won’t kill him. He’s her only friend now.

Could there be something wrong with Francesca? MAYBE???

If you are looking for an answer or something to confirm this. She decides she must now do as her father asked and keep him quiet. Make sure he won’t be a problem.

Well, given her mother was a surgeon, and began teaching her a few things, using cows and other farm animals to help in this. She takes to the task with a practiced skill. She takes it upon herself to remove his tongue, and then, for reasons unknown. His eyes. Returning to her home and sitting once more with her dad in front of the television set informing him, “he wont make any more noise now papa.” And with that,the two seem on a path to…………………normalcy?

I guess???

Bringing about our next chapter aptly called

2.       Father

We now skip forward in time, and Francisca has grown into a young woman. She’s looking more like her mother and now tends to the farm full time, feeding the cows and chickens, even saying hello to them. We also see her having to take care of and move her father from his bed. He’s unresponsive and, well. Possibly dead if not dying. She smiles to him and says hello as she helps to move him. Before returning to her daily care around the house. Scrubbing the floors, preparing dinner, for herself, doing the laundry and then ending her day by joining her fathers corpse on the sofa. Yes he’s for sure dead. As she’d propped his body in the living room on their couch, his head tilted back mouth open. She cuddles up to him and shares a knitted blanket as she watches the show with him. Kissing his cheek. But her evening is not yet finished. She’s washing her fathers body for a nightly bath. It’ the first time she shows emotion and speaks aloud. Telling her father tearfully how much she misses him, how she’s all alone now and doesn’t know what she will do without him. Soon joining him in the tub so she can hold him as she cries.

It's both twisted watching someone so obviously out of their mind, but heart breaking as we are left to wonder, had he just passed that evening? Had he been dead a long while and she just, repeats things out of habit not wanting to let him go. It’s heartbreaking, but still yeah. She’s not exactly there.

So she dresses him in his pajamas, sets him in bed and falls asleep beside him.

What of Charlie you might wonder? Oh he’s still alive. He lives like an animal. Slobbering as she feeds him and moaning in pain. But she does just as her father had told her as a little girl. She takes care of him. Brushing his hair, shaving him, bathing him.

Just another honest day on the farm right? Yeah…….yeah.

Well. Francesca is not dealing with being alone well. She needs some kind of interaction, and yes, even intimacy. No she does not turn to Charlie! That’d be disturbing! Which I mean….okay fair point about the movie so far but. Does it help if I just say again. We’re only just starting? Well midway in. You’ll see. Strap in.

So dealing with her loneliness, and the woman of the house. She decides to head into town. And not just anywhere in town. But the local dive bar. Is she there to pickup strange men and take out their eyes? No. She comes home with a nice woman. Who she tells all about her mother. How she was indeed a surgeon, and how as a child she would have her help with some dissecting, how she was fascinated by the inside of bodies, and organs.

This, you might imagine. Would be a bright beautiful red flag. Especially if you have spent any time watching ID channel, or Netflix’s murder porn shows. However, this woman is only mildly taken back by this and is trying to relate to her. So she tells Francesca, “I once dissected a cat in high school”, well maybe that is some……..common ground? Well she tries not to dwell on it too much. I mean she is asking Francesca a lot of questions, because she feels awkward. She’s not used to coming home with strange women she met at the bar after all. She ‘knows’ why she came there, she’s just. Well yeah. It’s awkward when you aren’t sure how to act and if you just, y’know. Go for it or what. So getting to know a little about the person helps. So she decides to test the waters and see what happens. She leans over and plants a little peck on Francesca’s lips. And as this has taken Francesca back a bit we are back to awkward.

So she resorts back to trying to politely ask about her family, like what happened to her mom since she talks so fondly about her? Well she tells her rather naturally that her mother was murdered. Prompting her without warning to immediately hug and embrace Francesca. She’s sorry for bringing it up, and sorry for asking so many questions not realizing it might bring up something so painful. However Francesca is not your normal woman. She doesn’t feel anything, and the sudden hug is unexpected and she has to ask why she did this. Again, that might signal a second bright shinny red flag. But nope! She just tells her again how it must hurt her having that happen and her mother being gone. But Francesca reassured her she’s perfectly fine.

Honestly the look she has. Hell the entire way she behaves throughout this entire exchange. It’s played picture perfect in the mind of a killer. She’s completely detached and her interactions with this woman are based off of what in her head should be normal. When she tells her that her mother is dead, and that its fine. She’s not saying this in remorse or acceptance at the passing of her mom. She’s saying it in such a way that there’s no association, no weight. For her she might as well had asked her How old the couch was, or how the day went and she’d get the same response. For her the murder, the caring for Charlie, and surgery done on him, what happened to her father. All of it is just life for her, it’s normal motions. So she doesn’t see any big deal in it.

Meanwhile this woman Kimiko(Clara Wong) is too awkward to really put things together. Taking the hug to also be an act of intimacy, Francesca leans in and steals a kiss, or several. Surprising Kimiko this time as they begin making out. But Kimiko still has some resevations. Pulling back, she softly ask Francesca about her father. Assuming since she said she’s lived in her families home since birth and mentioned only her mothers passing that this means Dad is still around.

Well, the dial on the thermoweirdness stat is getting changed up a tad now. Francesca tells her in a very innocent manner not to worry about him, that he’s dead. Obviously this worries Kimiko assuming the worst, that perhaps he was also murdered by the same person as her mother, but Francesca tries to reassure her while attempting to further kiss her, “No it’s okay. I killed him”

Three. Three beautiful fluttering red flags for sale! Take your pick or grab all three, your pick people! The prize is still the same regardless.

Naturally hearing this, Kimiko is confused. So Francesca, also being confused by her response as she didn’t lie or stutter. Repeats herself. Saying she murdered her father, that no she isn’t joking. She killed him. Soon realizing the look on Kimiko’s face, telling her this is not good, nor is her new friend taking it well. She apologizes to Kimiko and tells her she’s sorry it wasn’t very funny.

I should mention now, just because why not, and its fun. This entire time? During the kissing, and subsequent father murder admittance? Francesca has been petting Kimiko’s hair, like you’d bed an animal.

FINALLY, Kimiko is getting those red flags and she decides as cool as making out would be. Living sounds a lot cooler. So she excuses herself. She’s tired, she should’ve gone home, she doesn’t feel that well, it’s not you its me. Really it’s okay I just need to get home.

This panics Francesca, She doesn’t want her new friend to leave. Things were going so well after all. They found common ground in dissecting stuff! But Kimiko is committed to the idea of leaving and living.

Unfortunately that means Francesca would be alone, and she doesn’t want that. More than anything in this world she does not want to be alone. So our night ends, and morning arrives with Francesca scrubbing blood off of the floors, and packaging up perfectly cut and wrapped steaks and various cuts of meat for the freezer.

Yes, she killed and butchered Kimiko.

That evening she goes to bed, with her fathers body now gone. She feels even more alone. It’s getting to her more and more, she failed at finding someone who could love her and be with her, so what should she do now. She will try once more.

So. With that decision made.

She goes out to the barn, and brings Charlie into her families home once more. Bathing him, changing his eye bandages, and setting him naked on her fathers bed, Where she undresses and joins him, making love to her mothers killer that she’s taken care of while growing up, and cut the eyes and tongue out of.

I told you! I warned you all!

Does this final straw of weirdness solve her loneliness? Is Charlie thankful for being allowed in a warm house and bed for the first time in years? And for the sex?

Apparently not. Apparently the man still can hold a grudge. Francesca wakes up in bed, only to find her new lover missing from the bed. She slips on her underwear and night gown and searches the house for poor Charlie. Only to discover he found the back door and let himself out into the fields. Blindly roaming in nothing but his eye cloth. So with sadness in her heart. She grabs her kitchen knife and follows out into the field, walking beside Charlie. Before embracing him in her arms lovingly, and stabbing him slowly, repeatedly. Kissing his cheek and softly telling him “You were right. It feels…amazing.” And with that, Charlie is now dead.

What’s more however. I was slightly wrong. Her father is not buried and gone. He’s just forever in his pajamas and say in the house like her doll. Who is still her friend. We learn this as Francesca celebrates both the loss of her virginity(we can assume) to Charlie the murderer who taught her murder is easy, and he does it because it feels amazing. And her want to just dance…by dancing.

And also by butchering Charlie as well because. Well that’s more meat you don’t need to worry about needing later.

After all of this. She still finds herself sobbing and praying nightly. To her mother. Asking what can she do now. Still alone and with no one to love her or care for. Yes she has issues, but its still depressingly sad. Well it kinda is, once you get past the cannibalism and murdering.

Well everyday is a winding road and a new beginning, and with that we are at our third chapter.

3.       Family

Have we reached the peak yet? I honestly can tell you that, well. Keep yourself strapped in.

As Francesca wakes up, in the forest. She stumbles out into the road, looking for a ride back to her home. And as she does. She comes across a woman, Lucy, and her infant son, Antonio. Driving along in her Truck. She ask Lucy to please give her a ride home and the woman complies. I feel its honestly easier for women to trust other women asking for a ride, I could be wrong but. That at least is the case here.

Lucy(Flora Diaz) gives her a ride to the farmhouse. As she readies to drop her off, Francesca ask politely if she’d be allowed to hold Antonio. The mother, while trusting enough to give this woman a ride, is not however going to drop her maternal instincts and let the stranger hold her child. At least not until she politely ask again and promises only for a moment. So she decides sure, what’s the harm in that?

The moment Francesca takes hold of baby Antonio. She begins speaking in Portuguese, “Thank you mother, this is the best gift you could ever have given me.”, and takes off immediately into her home. She was not thanking Lucy. But her own mother she prayed too that past evening. Lucy races into the house and follows the cries of her baby. Only to find Antonio left alone on the middle of a bed. Distractign her long enough for a truly psychotic look from Francesca before she drives a knife into the back of Lucy. But not to kill her. Oh no. She’s fine on meat for now.

Instead. Lucy wakes up, hearing her baby crying in the distance, and we see Francesca doing a familiar task in the barn. She has stitched closed Lucy’s eyes, we’re left to assume she has indeed taken her eyes, but she did not take the mothers tongue. She’s a grown woman and has been practicing other surgeries. She instead cut open Lucy’s throat and taken away her voice. Stitching her throat as well. Before placing an cloth over the mothers eyes, and then chaining her to the restraints that once belonged to Charlie.

We know she has no voice, as she tries to cry out, and is only able to gargle out and hiss wordlessly. Seeing her reaction, and the moment the metal chains are placed on her, seeing her try to scream out in agony and madness. Yeah, it’s terrifying.

Even more terrifying? The film jumps forward from there.

Antonio is speaking fluent Portuguese and English. It appears 8 or 9 years have passed. She has assumed the role as the boys mother. And still, just like with Charlie, goes out to feed and tend to Lucy, while raising Antonio.

Does Antonio know about her? No. He is warned by his new mother to never ever go into the barn. But try telling a child not to do something and that’ll just make them want to do it. So of course one night, unable to sleep Antonio(Now played by Joey Curtis-Green) walks out to the barn, and discovers in the dark crawling on the floor in chains that drag across the boards, a hissing moaning nightmare. He tells himself it’s a bad dream and rushes back to the house.

Never mentioning what he did or saw to his mother. At least not until he sees her emerge from the barn after having fed Lucy. Only then can Lucy hear her sons voice for the first time as he ask Francesca, who the woman in the barn is.

Which she only tells him, again. Never to go into the barn, it is forbidden. But now the cat is more or less out of the bag.

Lucy, who had been forced to de-evolve into being a broken animal. Has heard her son. She knows he is alive now, and for the first time in years. She has a spirit to fight again. So she does. That night, she is visited by Antonio, only she slept when he entered into her barn. He did not bring her food or water. We have no idea what he did or if he just wanted another glimpse of the woman he saw, and his mother continues to keep secret from him.

Lucy begins to blindly roam the barn. Finding for the first time, that the door that is usually locked, has been left open. And for the first time in years. Lucy finds herself not only able to reach the doors and feel the air on herself. She finds a lot more freedom in her movement and chains.

The next morning. Francesca wakes up, ready to begin her day and make her son his breakfast. Only she finds, as does Antonio. The door to the barn is open. She wonders out to the barn curiously, only to end up screaming her head off once inside.

Why?

Is she murdered?!

Remember the beginning of the film? With the truck driver and woman in the middle of the road? It was Lucy. She found her chains not secured inside the barn, and she blindly walked down the dirt road, back onto the main road. Finally collapsing once she heard the truck blare its horn at her.

Back home, at psycho farms. Francesca is saying goodnight to Antonio and tucking him in. Saying goodnight, “Go placidly amid the noise and haste, and remember what peace there may be in silence. And whether or not it is clear to you, the universe is unfolding as it should.”

Does she kill him? Is she gonna add to the meat?

No, instead she is digging in the backyard. Not digging a new grave. But digging up an already existing grave. Her mothers. Because she needs her. Francesca digs up her mothers corpse, and embraces it, sobbing and telling her what a good boy Antonio is. How her mother would love him, and that all she wishes for now, is their family to all be together.

After visiting mom, she emerges from the woods, sad and dragging her shovel behind her. Unsure what awaits her, and what should happen next.

But, it seems she may have an idea what next. As she looks up to the road and sees the lights of four cars approaching quickly. She drops her shovel and takes off for the house immediately. Grabbing a kitchen knife. She hurries up the stairs to Antonio, drawing him out of bed in a panic, “You know how much I love you right? No matter what you learn, don’t believe a thing they say about me okay? I love you.”

With that, she backs Antonio protectively into the wall behind her, as police storm into the house. She holds her knife out shakily and repeats in Portuguese “You will  not take my baby”, with that, the police enter the bedroom. Shouting for her to drop the knife, lights being shined in her face as she repeats herself and waves the knife in front of her and her child. Antonio cries out “Mommy!” and the next thing we hear is police gunfire.

And with that, the film rolls credits, and plays a hauntingly beautiful song in Portuguese.

The End.

This movie, well. Yeah. You know.

It is not for the faint of heart. It is very intense, and while restrained on the gore, it is one of those that just feels like a hand around your throat that grows tighter, and tighter, and eyes stare back at you unblinking. It just doesn’t relent. It’s like I said. A living nightmare. You see the savage death of a girls mother, and the birth of a killer in the same day. Young Francesca trying to understand what happened, why her mother had to die, asking Charlie while she tended to him, ‘Why my mother?” only to hear there was no reason. She wasn’t chosen for any particular reason. She was just there, and he killed her, because it felt amazing to kill. Charlie planted that seed in her, and what likely was somewhere in her mind already, or grew from traumatic events. That darkness in her mind grew and unleashed as she grew up.

There is a lot to unpack here and I think part of the reason its so difficult for some people is because it is a very intimate look at the making and raising of a killer. We see her transition from the murder, to helping her father dispose the body, Caring for the murderer. Begging the question, did her father lose his mind having seen what he did of his wifes murder? Did he reason out what he did as being a common act that they’d just wash over and pretend wasn’t horrific, that Charlie was simply another animal on the farm to tend to? Or had he always been this way, and had their been a darker side to the family. We just don’t know. Only left to assume and fill in the blanks ourselves. From what we are given and the director specifically included. It’s easy to see how these things evolved the way they did. It’s just the actual seeing it part, and like I mentioned, the disturbing violence without the gore. It says a lot when you can pull of something like that and get under peoples skin without going full hog and showing it all. Only showing enough, and the little that is shown is far more than enough.

I really don’t watch it that often, because well yeah. It’s a lot to take in and it’s a very specific trip you are signing up for.

A compliment I can give this film and the director for this being their debut film. Its only 1 hour and 17 minutes. But the way things happen. When all of it sinks in one act after the other. You’d swear it was far longer. Because it just draws you in, as relentless as it is, how it plays out just feels drawn out so precisely and methodically. It’s beautiful and visceral.

Which also perfectly describes the music.

The Music

Honestly the score to this. Its all synth, composed by Ariel Loh, This was one of his first composing credits and what an introduction. The entire score beginning to end is every bit as tragically violent and heartbreakingly haunting as the film and its story.

If the images from the movie were enough to get under your skin. The score alone is the object being dragged under your skin and stroking over the muscle fibers. Really the best way to explain it is in the words of Pinhead, which came to me the first time I watched the movie and tried selling my sister on it, which I don’t believe I successfully did. “There is a song at the center of the world, and its sound is like razors through flesh”, it starts off immediately with the unnerving track “Meet Charlie” which already sets the tone of introducing madness to innocence and the brutal corruption it introduces.

Then you get pieces like “Conversation Piece”, which sound almost taken from quiet moments in the film ALIEN. It’s haunting and serene. The music is composed beautifully and the track is just. You get lost in it to a point it just takes you along and before you know it, you’ve been there listening, drifting for several moments into the album.

Each track just has that feel to it where it feels like such a natural progression it just comes off perfect.

I noticed the music right away in the film because it just strikes you, and stands out in such a way, In an otherwise quiet film. It stuck with me much in the same way hearing John Carpenter for the first time did. It was music I hadn’t really heard before and seemed so alien that I just fell in love with it. Like I said it’s the first soundtrack on vinyl I picked up immediately after finishing the movie. It’s also one of those that lets me sound super pretentious when I say hearing it on vinyl just adds to the experience. The pops and tiny scrapes from the player. Just add to the experience somehow.

This was also something I played a lot while writing the first chapter in my Deep Sea Anthology. It helped me get into a particular head space and later inspired me when putting together and arranging my music for that audio drama.

Really its something very dreamlike that just seems better each time you revisit it. Like the track “Dreaming” it just so beautifully carries that feeling, of being taken through, floating by a dreamscape unnoticed. Exploring the scene around you. I love synth for things like this. Most the time you mention synth and people just think Daft Punk, A guy in a huge mouse head, or Stranger Things.

This just sounds like something new, modern and welcome.

There are loops, oh yes. But none of it sounds like any other loop, or track you’ve heard before. There’s really nothing I can compare it to or with.

It made such an impression on me that when I saw their name appear in the credits for a movie I eviscerated Mother/Android, and his name popped up under Score Producer. I was happy.

Its unfortunate they haven’t done many film scores. But the ones they have done, They’re beautiful and I sincerely hope for more. And if that’s not to be? Then just in the same regard as I hold John Carpenters work and a select few of Clint Mansell’s works. Especially mansell’s.

As I said, the movie may be too much for some, or hell by todays standards it might be to tame given what Netflix Put out recently with Dahmer, and a barrel full of other killer based series. But the score for this film is for everyone, especially those with a love for the surreal.

Even rewatching the movie when I reviewed it, I still ended up putting the soundtrack on while I wrote the review. It’s just now closing in fact. It’s just great music and I can’t support it or the composer enough. Please do check out more of their work. Filmmakers, hire them please. We need to discover more of what lurks in their mind. I would pay them $100 for a song. Just one song. Honestly? I would love to hear their take on a theme for Hellraiser, or Carpenters The THING.

Seriously though. The film is a journey and something to invest in if you are willing to take that ride and see it through to its conclusion, the music I can’t recommend any more than I have, and shall continue to praise. Please look into both.

And as always, until tomorrows next film on the score list. Please, please, please, please, PLEASE never ignore red flags, no matter how awkward you are. It’s better to end up having an awkward cut short date, than to end up a steak on someones plate.