Tribeca Film Festival Reviews: ‘Attachment’ and ‘A Wounded Fawn’
Attachments and A wounded fawn at Tribeca at Home
In the Midnight category at the Tribeca Film Festival online, two macabre films offered excitement. Both sport weird, ironic comic elements. Attachments is a horror romance. A wounded fawn raise gender horror stereotypes effectively with humor.
Imbued with Jewish folklore and Kabbalah, the romance enters Attachments loosens with the concept of love at first sight. In the long run, love also emerges as salvation and becomes a theme.
Director Gabriel Bier Gislason’s film introduces Maja (Josephine Park), a former Danish actress, who supports herself by entertaining children in libraries. When she meets Leah (Ellie Kendrick), a young Jewish academic from London, Maja’s interest blossoms. Mutually attracted, the two women spend the night together. Their relationship quickly moves to love and twists so strangely when Leah has a frightening attack. Injured and weakened, Leah Maja asks to continue the relationship. Maja follows Leah to London and moves in with her in Leah’s apartment.
Love and possession dominate Attachments
A twist occurs when Maja discovers that Leah’s apartment is in her mother’s house, located in a Hasidic neighborhood in the heart of Stamford Hill, London. Almost immediately, their relationship changes. Maja feels uncomfortable sleeping with Leah in the apartment above Leah’s mother Chana (Sofie Gråbøl). Silent and disapproving, Chana does not warm up to Maja’s kindness. While Maja helps Leah heal, she spies on Chana who practices Jewish mysticism.
Chana gives Maja an amulet for protection, and tells that evil spirits can attack. Lea also wears an amulet. Maja confides in Chana that she loves Leah and cannot be without her. Chana explains that such worship suffocates the one who loves and the one who receives love. Still, showing pity for Maja, Chana seems to be warming up to her.
Maja explores the neighborhood and meets Uncle Lev (David Dencik), Chana’s brother-in-law. From him she learns that Chana’s husband left her, but Chana has mysteriously stayed in the area. In addition to filling in family details, Lev gives her a book that explains deep pants, spells and supernatural creatures. As time goes on, Maja is intimidated by Chana, whose overprotective Leah’s overprotection disturbs their happiness. In addition, Chana’s practice convinces Maja that she intends to take Leah from her. In fact, while watching Chana practice witchcraft, Maja feels that Chana is threatening their relationship and life together.
Strange events increase
Strange incidents in the building increase, as does Leah’s frightening seizures. When Chana sees the book that Lev gave her, she warns her not to see Lev. She tells Maja that Lev is dangerous, and she takes the book. Outraged, Maja fails to persuade Leah to believe that her mother has sinister thoughts about their relationship.
One night, during a delicious dinner together, Maja has an asthma attack. But for Leah’s quick response to getting Majas Epipen, her boyfriend would have died of anaphylactic shock. When Maja examines the dish that Chana made for them, she discovers the source of her attack: peanuts. Maja has a serious allergy, which both Chana and Leah know about. When Maja asks what happened, Leah and Chana know nothing.
This history of possession rooted in Jewish folklore and mysticism examines the dangers of love and the unity between souls and spirits. The darkness of relationships and the secrets that Chana holds to save Leah’s intrigue. When the evil manifestations occur, the film’s macabre and frightening suggestiveness fascinates and forces our interest to the conclusion.
A wounded fawn
IN A wounded fawn, introduces director Travis Stevens’ serial killer in a new way. After a civilized auction of an expensive Greek mythological bronze statue, we see that the buyer of the statue is brutally murdered. The killer is encouraged by a tall monstrous figure, the embodiment of one of the figures in the bronze statue. Bathed in hazy red light, this devil watches over the brutality of an accompaniment of scary music. The frightening tableau encircles our expectation and sets in motion the events that are to follow.
The contrast to the next scene overshadows the ironic and scary events. Beautiful Meredith (Sarah Lind) sits in a museum with her friends and looks at a painting that vaguely resembles one of the versions of “The Rape of the Sabine Women”. As she tells her friends that she dumped the violent boyfriend who “went over her”, the picture provides an ironic backdrop for her story. When one remembers the opening scene, the significance of the painting is suggestive. Glad she’s back together, Meredith tells her friends about the opportunity to travel this weekend with Bruce.
An unpretentious serial killer
Bruce (Josh Ruben) looks different from the serial killer in the first scene, and has a beard, a checkered shirt and a charming demeanor. Dangerous characters abound, however. He takes her to a secluded retreat in the woods where the thicker darkness scares Meredith. His private home appeals to her, but shady figures run in the woods. To begin with, Meredith questions her vision. On the third observation, while Bruce is trying to make her feel comfortable, she scares both of them when she screams that a woman is lurking outside in the dark forest.
At this point, the tall monstrous demon has appeared to Bruce alone, but he has averted him. He tells the demon that he wants to kill Meredith at the right time, after dinner. It’s clear that Bruce can control his schizoid personality to a point. While Meredith suspects something, the creatures begin to take over Bruce. Guided by the evil creatures, he closes in on Meredith, who packs up her belongings. She thinks she has convinced Bruce to leave because of the crazy people in the forest who also scare him. Bruce arms himself with a unique murder weapon and attacks Meredith in a gruesome and bloody scene.
Meredith is a skilled opponent
However, Meredith proves to be a skilled opponent. As the plot complications increase, the risk becomes more and more deadly for Bruce and Meredith. Stevens keeps us guessing, shocked with twist after twist until the conclusion. Towards the end, Bruce’s actions are clarified, and Meredith’s cunning, eerie response has surprised Bruce and changed his intentions.
Both horror films on the streaming platform Tribeca at Home undermine memes and gender stereotypes in a clever way. The realistically executed surrealism and demonology are characterized by fine performances that give horror Order and A wounded fawn. Both were shown on the Tribeca at Home platform.