Hanna Bergholm
30 connections found
Filmography
View:
Connections, in both directions
Clearly inspired by Black Swan—with similar motifs regarding molting feathers, razor-sharp talons and evil doubles—Hatching would have benefited from enmeshing itself more in the toll that gymnastic takes on women’s bodies, akin to the unvarnished glimpse of ballerinas that Black Swan is oft-regarded for.
Horror has a long and complicated history with motherhood, from classic entries like Psycho (1960) and Rosemary’s Baby (1968), to slasher fare like Friday The 13th (1980), to contemporary essentials like Black Swan (2010), The Babadook (2014), and Hereditary (2018).
Think “E.T.” meets “Black Swan” and you’ll start to understand the strange, grotesque journey of the film.
Like the main character in Black Swan , Tinja is raised to see her flaws before anything else.
Comparisons are warranted to Black Swan , but Hatching gives birth to its own clever storyline, stunning visuals, and strong performances.
Tinja's mother is reminsicent of the mother in Black Swan because she pushes her daughter to work hard and makes her suffer in the process.
This picture becomes a bit like David Cronenberg’s The Fly in terms of excessive gore and creature/human combinations.
Their work harkens back to gooey horror effects of films like Cronenberg’s The Fly or Nicolas Roeg’s The Witches , allowing the monster to feel real, and its terror all the more frightening.
The film has a similar foreboding tone as The Shining , but it’s the quiet surrealism that reminds me of Dogtooth more than anything.
It also has a bit of a resemblance to Yorgos Lanthimos’ Dogtooth in terms of the film’s look especially in the brighter early scenes in the movie.
Where a deranged lack of empathy can sometimes work in films like Dogtooth, there is no compelling nature to this porcelain family.
In many ways, this essence of a familiar acting out the rage its host cannot has been revisited countless times, whether in glorious B-movie cult classics like Baby Blood (1990) or Basket Case (1982) or higher brow freak shows like The Brood (1979), a femme centered psychosomatic extravaganza Bergholm seems to be on the same wavelength as.
In a way, Hatching could work as a weird, inverse sister to David Cronenberg’s The Brood —a work about a mother whose anger towards her past familial abuse manifests as demon spawn she bears from an external womb.
“Hatching” resembles his early, attention-getting effort “The Brood” (1979) in many ways.
There’s a Cronenbergian aspect to the creature, a sickening, twisted pulpiness similar to that of The Brood or The Fly, from which it’s impossible to look away.
Premiering in the Sundance festival’s Midnight section ahead of IFC’s April 29 release, this expertly handcrafted film features a bizarro animatronic creature that recalls elements of everything from Alien to Jurassic Park .
Back to the bird egg in the bedroom which eventually hatches into something that resembles a small dinosaur from the Jurassic Park pictures or an alien from the Alien franchise crossed with an oversized bird that comes complete with gooey slime that recalls those same Alien pictures.
Once hatched, the creature resembles a velociraptor that escaped straight off the set of Jurassic Park .
E.T. the Extra-Terrestrial (1982)
Directed by Steven Spielberg
influenced Hatching (2022)
Themes Visuals
Instead, this Finnish import about a newly hatched bird-human hybrid pulls from E.T. and Troma films, utilizing great practical effects to pluck at ideas of puberty and motherhood.
Think “E.T.” meets “Black Swan” and you’ll start to understand the strange, grotesque journey of the film.
A coming-of-age horror fable with a dextrous multi-purpose metaphor at its core, it comes across as E.T. repurposed through the prism of Angela Carter‘s The Bloody Chamber .
The spindly, large-eyed, goo-covered creature looks and feels like a throwback to the kind of otherworldly monsters from the best ‘70s and ‘80s fantasy films, such as “E.T.” or Jim Henson’s “Labyrinth,” and shares a similar tender yet treacherous relationship with a young protagonist.
One could instead think of it as the weird lovechild of “American Beauty” and a grotesque version of “E.T.,” with the uncanny touch of Yorgos Lanthimos.
Set to release theatrically in its native Finland in February, Hatching could also do well further afield, particularly with fans of Scandi-genre fare like Tomas Alfredson’s Let The Right One In (2008), Joachim Trier’s Thelma (2017)— with which it shares themes of powerful pubescent emotion — and Ali Abbasi’s Border (2018), which won Cannes Un Certain Regard in 2018.
The film owes a major debt to the master of body horror David Cronenberg, who has a new film “Crimes of the Future” coming.
Horror has a long and complicated history with motherhood, from classic entries like Psycho (1960) and Rosemary’s Baby (1968), to slasher fare like Friday The 13th (1980), to contemporary essentials like Black Swan (2010), The Babadook (2014), and Hereditary (2018).
From “Rosemary’s Baby” through to “The Babadook” and “Hereditary,” a certain breed of horror film has taught us as much.
Set to release theatrically in its native Finland in February, Hatching could also do well further afield, particularly with fans of Scandi-genre fare like Tomas Alfredson’s Let The Right One In (2008), Joachim Trier’s Thelma (2017)— with which it shares themes of powerful pubescent emotion — and Ali Abbasi’s Border (2018), which won Cannes Un Certain Regard in 2018.
In many ways, this essence of a familiar acting out the rage its host cannot has been revisited countless times, whether in glorious B-movie cult classics like Baby Blood (1990) or Basket Case (1982) or higher brow freak shows like The Brood (1979), a femme centered psychosomatic extravaganza Bergholm seems to be on the same wavelength as.
In many ways, this essence of a familiar acting out the rage its host cannot has been revisited countless times, whether in glorious B-movie cult classics like Baby Blood (1990) or Basket Case (1982) or higher brow freak shows like The Brood (1979), a femme centered psychosomatic extravaganza Bergholm seems to be on the same wavelength as.
The spindly, large-eyed, goo-covered creature looks and feels like a throwback to the kind of otherworldly monsters from the best ‘70s and ‘80s fantasy films, such as “E.T.” or Jim Henson’s “Labyrinth,” and shares a similar tender yet treacherous relationship with a young protagonist.
The identical candy-colored houses in this suburban neighborhood are reminiscent of Edward Scissorhands .
The film has a similar foreboding tone as The Shining , but it’s the quiet surrealism that reminds me of Dogtooth more than anything.
Horror has a long and complicated history with motherhood, from classic entries like Psycho (1960) and Rosemary’s Baby (1968), to slasher fare like Friday The 13th (1980), to contemporary essentials like Black Swan (2010), The Babadook (2014), and Hereditary (2018).
From “Rosemary’s Baby” through to “The Babadook” and “Hereditary,” a certain breed of horror film has taught us as much.
Horror has a long and complicated history with motherhood, from classic entries like Psycho (1960) and Rosemary’s Baby (1968), to slasher fare like Friday The 13th (1980), to contemporary essentials like Black Swan (2010), The Babadook (2014), and Hereditary (2018).
Her SFX makeup head, Conor O’Sullivan, comes with a similar pedigree, as half of the Oscar-nominated effects duo who gave Heath Ledger his grotesque leer as the Joker in The Dark Knight .
It’s just sweet, sad and mad enough that it could become this generation’s Ginger Snaps .
One could instead think of it as the weird lovechild of “American Beauty” and a grotesque version of “E.T.,” with the uncanny touch of Yorgos Lanthimos.
It’s likely this American Beauty-era commentary wouldn’t feel as dated were the film not releasing so close to Jane Schoenbrun’s masterful, of-the-moment exploration of terminally online youth in We’re All Going to the World’s Fair.