Swallow (2020)
Directed by Carlo Mirabella-Davis
Hunter, a newly pregnant housewife, finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession.
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What critics compared Swallow to
Then there’s Mitchell Lichtenstein’s Teeth , Roman Polanski’s pregnancy thriller Rosemary’s Baby , which doesn’t contain a hint of physical violence, and John Carpenter’s shape-shifting classic The Thing .
What a brilliant thematic double-feature you could program by leading Swallow into Leigh Whannell’s The Invisible Man.
It’s a perfect companion to " The Invisible Man " as they’re both stories of women trying to escape an incredibly controlling environment where men hold a feeling of ownership over their bodies and the resulting trauma that comes with that.
Swallow shares commonalities with The Invisible Man , another recent movie about a woman in a controlling marriage that offers a more standard type of thrill — both films are suddenly available to watch in our homes, with some help from the coronavirus .
There’s a touch of “The Invisible Man” to this unsettling story of the misery of being married to a cruel control freak.
The trope of the ultra-modern, glass-enclosed, isolated house as metaphor for the vacant soul of rich suburbanites, from “Parasite” to the recent “The Invisible Man,” also works effectively here, as Hunter is imprisoned by social and gender roles that have robbed her of control.