Schrei in der Stille (1990)

Schrei in der Stille: Directed by Philip Ridley. With Viggo Mortensen, Lindsay Duncan, Jeremy Cooper, Sheila Moore. In the 1950’s, a young boy living with his troublesome family in rural USA fantasizes that a neighboring widow is actually a vampire, responsible for a number of disappearances in the area.

“Reflecting Skin is in many ways a unique creation. It operates at many levels, each of which should be taken on its own terms and understood within its own logic. Devastating social critique is entangled together with brilliantly shot natural landscapes (especially the combination of azure skies and sweeping fields of golden wheat). Dark and semi-psychotic scenes of Sethu0026#39;s fatheru0026#39;s self-immolation are entwined with the gentle lyricism of Cameronu0026#39;s u0026quot;falling in loveu0026quot; with the u0026quot;vampire woman,u0026quot; Dolphin Blue. Taken together, all these elements produce a dark, unsettling, relentlessly haunting atmosphere of the most profound spiritual crisis. Reflecting Skin is about the rock-bottom of socio-cultural devastation, it is about the wasteland lying inside each of us.u003cbr/u003eu003cbr/u003ePhilip Ridley shows us the isolated world totally devoid of all GENUINE sense of moral direction. The actor who plays a 9-year old Seth is absolutely excellent in portraying a frightened, well-meaning rural boy who has already absorbed all the unspeakable cruelty of his family and wider local milieu. The greatest nighmare of the film, it seems to me, is the destructively stubborn denial within which all characters are deeply and inextricably mired. There is nothing they are afraid more of than looking at themselves, at the profound evil which had already turned their souls into the most frightening desert. They are prepared to look around for vampires, witches and other incarnations of evil rather than to confront the layers of hypocrisy, sanctimony, and callousness within which they are hopelessly bogged down. They are blind to their own faults but are filled with immeasurable hate towards the u0026quot;evil forcesu0026quot; out there. One is simply astonished at how successfully Ridley portrays the reservoirs of hatred and existential frustration hovering over the settlement. The movie traces how this hatred, this stubborn blindness progressively corrodes and ruins an impoverished rural community in the mid1950s. This movie is in many ways an examination of the local and deeply psychological sources of fascism (not in its more historical and specific meaning but as a cultural phenomenon of the modern world). Sethu0026#39;s desperate shriek for u0026quot;salvationu0026quot; amid the rays of the slowly setting sun and clouds of dust is perhaps the most powerful and unsettling scene in the film. Yet, watch closely: Sethu0026#39;s face is not covered with tears and genuine grief! His soul has been turned into stone — he has grown to accept the ubiquity of death and cruelty. He will grow up to be a truly scary human being, able to kill and plunder with no remorse or doubt.u003cbr/u003eu003cbr/u003eGreat cinematographic gem. Should be appreciated by everybody interested in challenging, controversial, and ambiguous art. Profound social and even religious message about the evils of sanctimonious fundamentalism of any type of faith.”