With the continued rise in average ages in height – and the future appears to be increasingly dangerous for everyone Age groups – more films address aging, dementia, abuse of elderly and other topics that any screen is rarely broadcast. This includes the type of terror, which was usually focused on the intimidation of Nubian youth. Joining such recent efforts as “Dibora Logan”, “Manor” and “Jenny Ben” is “the house”, which is cooler in the Swedish language in which the victim of the stroke is transferred to a care facility-but not alone, as the few moments that she spent clinically “dead” written in a male spirit with it from the other side.
It is likely that the first show to provide the first show in SXSW Midnight is likely to attract new offers, although the increasing fears of the leap and violence that you likely accumulate will only reduce, making the Mattias J. Skoglund student’s advantage very effective. Her calm approach is scary towards a fictional story that casts a building of the largest effectiveness of many stories “possessing” greater and has become a louder voice than the frightening effects and other excess elements. Certainly it is more in this modest and placed crawl.
The retired in a small town of Monica is located around her kitchen when she falls on the floor, outside the camera, and while a bodily deficit can be heard as she screams, “No! Stay!” In some invisible existence. Her son Joel (Philip Urus) moved from Stockholm shortly after, to arrange her affairs in order-clearly for everyone except the lady herself that she cannot continue to live alone, or even with the visits of the care provider at home. However, moving to the nearby facility, EKSKGGAN is very annoying to Monka, not the least of which is that it constantly forgets that it has already been discussed with it several times.
Not to provide a lot of help is her other son, Bjorn, apparently busy with his expanding currency and his family to spare time. So my mother’s transfer management falls to Joel, who used to get a short end of the stick. It still enhances the unsuccessful music that did not suffer from drug use and other issues (still drink like a fish), and its distant place is strengthened in the second when Monica, who was initially drowned at first for Burhen. But the root of insecurity for him deepens, to the late father (Peter Yanker in the role of the Bangt), who was a comprehensive abuse, especially towards his wife and this “weakest” offspring.
Therefore, it is very disturbing that Joel when his weak mother declared “the benjet was waiting for me” after her brushes with death, then she suffers from physical damage – falling from her bed, and a broken arm – when she is alone in her home room. These Ails are supposed to be affected by themselves, but it is Muslim that the population who suffer from their mind also begins to report strange events.
One night, Lily Walston is witnessing something in the Monica room, which makes her leave her job immediately. When his parents ’house is removed in broad daylight, Joel is suddenly threatened by his father – or some vision like – before he disappears/that he accompanies as it appeared. His only ally in what begins to look like a supernatural dilemma is Bestie Nina (Gizem Erdogan), which also works in Ekskugan. Things reach her head when she works in an individual night attack there, and she invited him to come and investigate any phenomenon at work.
As often with slow, slow horror based on wise restraint, it can be said that these climatic events are less effective in their relative explicit than the previous slander. But “The Home’s Last Stretch” is still satisfactory, leaving viewers with a feeling that the danger has not been neglected in any way. It is actually a strong narrative point that we have never explained what is this danger: Bengt itself, from the grave? Or some of the evil entity that can assume any more disturbing form for its prey?
There is nothing for a lawyer or camp about the way to suddenly develop the great actor in the eye, which inevitably precedes a terrible thing that comes out of their mouths. Unlike the films from which the “Devil” emanates, or what a set of rowing and profanity emanates, the text of Skoglund (participated in his writing with Mats Strandberg, who composed the source novel), with accurate personal comments with harshly designed to inflate the maximum psychological pain. This includes Bengt Despicable in his fossilized son, “I always thought you were dying first, from AIDS.”
The film’s handicrafts are not less intelligent because it is low, with an inverted feeling, which is the minimum of the amazing general aesthetic. This extends to the disgraceful surrounding result by Toti Guonason, and the way it initially encourages institutional paint plans in the production of Vera The Andtender gradually on its exciting qualities to influence the Malin LQ atmosphere.