Rolf de Heer
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Filmography
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Where films like Flowers in the Attic (1987), Bad Boy Bubby (1993) and Dogtooth (2009) show little sympathy for the parents who become jailers to their own children, Ghorban is never demonised in The Apple, but rather shown to be a pious man and loving father, no less (although differently) imprisoned by the poverty of his education, by the sexual attitudes that he has absorbed in his own childhood, and by the inertia of circumstance.
Not since “Bad Boy Bubby” has plastic wrap been put to such scary use on screen as it is in “Creepy,” Kiyoshi Kurosawa ’s nail-biting thriller dominated by a psychopath who exerts a malevolent hold on his neighbors.
Pitched somewhere between The Enigma of Kaspar Hauser, Being There and A Clockwork Orange (with touches of Eraserhead too in its claustrophobic opening third), the film’s picaresque plot follows crazy-haired man-child Bubby (Nicholas Hope) as he emerges into the unknown world beyond the Freudian prison in which his mother (Claire Benito) has isolated him well into his adulthood.
Films like Bad Boy Bubby , Dogtooth , Miss Violence , Room , Brigsby Bear and Wildling have inured viewers to the type of plot in which children are perversely reared by parents or parental figures in hermetic milieux, and Freaks certainly seems, at least at first, to conform to this template, presenting us with a little girl whose view of life beyond the door has been skewed by a disturbed, controlling father.
Pitched somewhere between The Enigma of Kaspar Hauser, Being There and A Clockwork Orange (with touches of Eraserhead too in its claustrophobic opening third), the film’s picaresque plot follows crazy-haired man-child Bubby (Nicholas Hope) as he emerges into the unknown world beyond the Freudian prison in which his mother (Claire Benito) has isolated him well into his adulthood.
Pitched somewhere between The Enigma of Kaspar Hauser, Being There and A Clockwork Orange (with touches of Eraserhead too in its claustrophobic opening third), the film’s picaresque plot follows crazy-haired man-child Bubby (Nicholas Hope) as he emerges into the unknown world beyond the Freudian prison in which his mother (Claire Benito) has isolated him well into his adulthood.
It also evokes the belief from many early cultures that there is a place outside of the physical world where all spirits reside waiting to be born again (as expressed, for example, in the Indigenous Australian film Ten Canoes ) although this is articulated in The Tree of Life as a place where memories of the living are also present.