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‘Son’ – The Remarkable Exploration of Trauma in One of 2021’s Best Horror Movies

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son 2021 best horror movies

Written and directed by Ivan Kavanagh, 2021’s Son is one of the most fascinating works of psychological horror I’ve seen recently, and I feel it should be getting a lot more recognition. Its premise already seethes with mystique – years after a young mother named Laura (Andi Matichak) has escaped a cult, she walks into her son David’s (Luke David Blumm) room one night to find several people surrounding him. Overtime, he becomes horribly sick, requiring human flesh and blood to survive.

How far is this mother willing to go to protect her child? Who were those people? What was the cult all about? These are the questions the film prompts immediately into the viewer’s mind, the writing establishing effective pacing in how information is provided to the audience. However, while the mystery behind David’s illness and the cult are captivating, Son’s real strength – what allows it to be so psychologically harrowing – is that of Laura. For though Son may pull viewers in with its supernatural/cult angle, what delivers greater horror is the heartbreak she endures.

Please note major spoilers to follow regarding Son’s plot.

The men tailing Laura at the beginning of the film already get us curious as to what they want with her; it isn’t too long before Laura brings up to a detective named Paul (Emile Hirsch) that a cult from her childhood is after her son. Why is this cult after the son? Why are they resurfacing now at this time in Laura’s life? Well, when Paul’s partner Steve (Cranston Johnson) does a little digging around, he finds out some additional details about Laura’s past.

Laura describes the cult as an organization that believes they are working towards resurrecting some sort of deity; the research done by Steve however shows that Laura’s actual name is Anna, and that she was forced into a sex trafficking ring. When the latter information is presented to us, it throws off some of our understanding and gets us to question what may be going on. This is a horror movie, so we expect some level of twist and turns involved – is Laura right and the cult is some form of evil religious group, or is Steve correct and this woman is undergoing a delusion? Though the film ultimately ends with an explicit choice regarding this, much of the narrative does toy with the audience’s expectations.

Because Laura is not a delusional, trope-ridden character – though she does suffer with PTSD – she displays a great level of comprehension regarding her state of mind. She understands the horrific environment she was raised in and that she was abused – she just believes that things went down somewhat differently when it comes to that abuse. In the years since her escape, she has sought treatment to help improve her mental state. At one point, she brings up with another character her efforts to address her trauma and her fear of slipping into psychosis. Laura isn’t the type of horror stereotype where one can just write her off as completely detached from reality; she is more aware of things than people give her credit for.

Part of the symptoms that make up PTSD is how one’s trauma can distort their past. Laura isn’t trying to cover up anything, what she believes is genuine to her. This element of Memory Distortion has a remarkable power to stir intrigue within the audience, keeping us hooked and curious as to where plot points will eventually lead. As viewers who may already watch a bunch of horror movies, and possibly a good number of psychological films, we are sort of trained to be cautious in how much we trust characters. How much can we trust what we’re seeing on screen when it comes to David? Does he really need human blood and flesh to survive? Could this be something Laura fabricated to cope with the new trauma of him being sick? When Laura walks into a room and finds him eating someone for the first time, she covers for him by taking the victim’s blood and writing the cult’s message on the living room wall – “He Is Coming.” She also includes their symbol alongside the message, implying that they are the ones who killed the victim.

2021 best horror movies shudder

I think this moment is brilliant in how it plays into the psychological narrative and audience interpretation. When the detectives arrive to the house, they think it’s Laura who killed the person and feel she wrote the message in a disillusionment. Perhaps stemming from archaic horror tropes we’ve seen a hundred times from other horror movies, we don’t know where to put our trust when it comes to character perspective. At this time in the movie, we haven’t learned enough about the cult to confirm how active they are as an organization. The cops could also just be ignorant as hell regarding the horrors that are after Laura and David. Regardless, it does bring a what-if element to the story, even if we are aware of David’s bizarre condition and things do become more explicit overtime (in terms of what is going on).

Son may have some supernatural and cult-focused intrigue working in its favor, but its core horror is that of the psychological. The narrative not only works to present the chaos and anxiety wreaking havoc in Laura’s mind, but is also gets the viewer to question the logic of actions taking place. The detail provided into exploring Laura’s trauma is both heartbreaking and remarkable. Her character thankfully escapes the role of problematic stereotyping, allowing her to be a fleshed-out character with agency. Playing into the concept of Memory Distortion creates a layer of curiosity and narrative distance as well, keeping the audience on edge and wondering what plot details could be real and what could be delusions.

Sometimes trauma in films is handled in such a gross, over the top way; a character may be completely detached from reality and be overtly neurotic. Or they’ll be plagued by an abundance of hallucinations, and it takes this giant moment of revelation to reveal that they’ve been living some kind of lie. While PTSD can certainly have a domineering brutality on some, this isn’t always the case for everyone, and those previous examples are dramatized Hollywood tropes to sell an idea of PTSD. Laura’s trauma is a realistic depiction, one where she is aware of herself, surroundings, and to a decent degree, her past.

Son provides a nuanced approach in exploring trauma. While it can be bloody, gruesome, and chilling in its supernatural aspects, the most devastating part of Son’s horror is the pain Laura holds and her efforts to save David. As his condition worsens, Laura’s state of mind also begins to chip away; not only because of having to relive trauma of her past, but because her son is also dying. When we see her with David by her side – the little boy in an agonizing, weakened state – it’s horrific. Son conveys a great deal of sadness that provides a painful essence throughout its runtime. Not so much dread or melancholy, but just this roaming sadness. That these good people are having their life teared apart.

If you have not checked out Son yet, I strongly encourage you to watch it. It is currently streaming on Shudder and can also be rented on YouTube. Not only is it one of 2021’s best horror movies, it is also a captivating work of psychological horror – one that displays great care in its haunting nature.

You can explore our Unveiling The Mind article archive here.

Michael Pementel is a pop culture critic at Bloody Disgusting, primarily covering video games and anime. He writes about music for other publications, and is the creator of Bloody Disgusting's "Anime Horrors" column.

Editorials

‘The Company of Wolves’ at 40: One of the Most Underrated Werewolf Movies Ever Made

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There’s a compelling idea in anthropology that many ancient werewolf legends are derived from our species’ need to rationalize the more animalistic side of humanity – which is why lycanthropy has historically been used to explain everything from medieval serial killers to cannibalism. While I personally think there’s a lot more to unpack when it comes to tales of wolfmen and women, this is still a great example of why so many of our most enduring fairy tales involve big bad wolves.

And in the world of film, I think there’s only one feature that really nails the folkloric origins of werewolf stories, namely Neil Jordan’s 1984 fairy-tale horror classic, The Company of Wolves. Even four decades later, there’s no other genre flick that comes close to capturing the dreamlike ambience behind this strange anthology, and that’s why I’d like to take this opportunity to look back on one of the most underrated werewolf flicks ever made.

The Company of Wolves was originally a short story contained in the 1979 anthology The Bloody Chamber, a collection of deconstructed fairy-tales intended for mature readers penned by English author Angela Carter. With the book quickly becoming a hit as readers became fascinated with its subversion of classic folk stories and (then) controversial feminist undertones, it was soon transformed into a duology of BBC radio-dramas which adapted both The Company of Wolves and Carter’s reimagining of Puss-in-Boots.

These radio-dramas soon attracted the attention of then up-and-coming Irish filmmaker Neil Jordan, who decided to meet with Carter to discuss expanding on her stories and bringing them to life on the big screen. The duo soon realized that a single short story wasn’t enough material for a feature-length film, so they decided to adapt all of Carter’s werewolf tales into a single anthology.

With a completed script and a $2.3 million budget, Jordan decided to tackle the project like a hybrid between a theatrical period drama and a schlocky monster movie. Effects-heavy creature features were a hot commodity back in the ’80s, with films like The Howling and An American Werewolf in London proving that there was an audience for horrific lycanthrope transformations, so the director soon recruited a team that could turn this odd collection of feminist folk stories into something commercially viable.

Not exactly a great pick for family movie night.

Shooting would eventually take place almost entirely within the England-based Shepperton Studios, with notable production designer Anton Furst (who would later be known for his work on Tim Burton’s Batman films) helping to bring Jordan’s vision of a darkly romantic fairy-tale world to life. Appropriately enough, production would also involve a real pack of trained wolves (as well as a collection of dyed dogs), though extensive puppetry and animatronics were also used to flesh out the more gruesome parts of the flick.

After a grueling nine-week shoot where budgetary constraints led to corners being cut on props and costumes, The Company of Wolves was finally released in September of 1984 – just in time for spooky season. In the finished film, we follow the strange dreams of a sulky teenage girl named Rosaleen (first-time actress Sarah Patterson) as the film unravels an Arabian-Nights-inspired tapestry of both familiar and not-so-familiar stories about big bad wolves.

From sexually charged cautionary tales to parables about female empowerment, this surreal collection of deranged bedtime stories is much more than the creature feature that the marketing initially suggested. Like a more horror-oriented version of Jim Henson’s Labyrinth, The Company of Wolves exudes that same kind of hormonal teenage energy that transports us back to a time when the world was both scary and exciting in equal measure.

That’s not to say that this is an entirely pleasant experience, however, and I’m not just talking about the film’s horror elements. A big portion of the flick’s overtly sexual moments involve the then 13-year-old Patterson coming to grips with her blossoming womanhood and the dangers of predatory men (usually marked with a humorous unibrow), something that naturally makes for some intentionally uncomfortable viewing – especially in the year of our lord 2024.

Obviously, I don’t think it’s my place to dissect (or even judge) the effectiveness of the film’s commentaries on being a young woman, but even as a man I can still appreciate the thought and care that went into crafting this Jungian cocktail of serious themes in a genre-movie package that almost certainly went on to inspire future werewolf movies like Ginger Snaps.

Not the worst wedding I’ve been to.

That being said, what really keeps me coming back to the film is the absurd amount of memorable imagery. From a wedding party being taken over by canines to lonely treks through snowy groves, this is exactly the gloomy world I imagined as a child when reading Grimms’ Fairy Tales – and the dreamy atmosphere is only enhanced by the movie’s overall theatricality.

This also extends to the effects, as it’s easy to forgive decapitated dummy heads and ripped rubber skin when everything is happening in a magical hyper-reality, with a great example of this is being the scene where Grandma’s head unexpectedly explodes like a porcelain doll when it’s knocked off by a wolfman. That’s not to say that the effects are bad, as several of these transformations are downright grisly and likely influenced future lycanthrope effects like those in Underworld and even Trick ‘r Treat (even if the wolf-dogs here often look more cute than scary).

Of course, these aren’t the only things that The Company of Wolves has going for it, as the main trio of Patterson, Micha Bergese and the late, great Angela Lansbury exceptionally bring these exaggerated caricatures to life and the orchestral score is an absolute delight. I also really get a kick out of that bizarre ending implying that the dangers of adult life have literally come crashing into Rosaleen’s bedroom.

The Company of Wolves may not be a perfect film, suffering from some wonky pacing and the classic anthology problem where some stories are clearly much more enjoyable than others, but I’d argue that the flick’s iconic visuals and powerful thematic throughline more than make up for any minor flaws. And while we’ve seen bigger and better werewolf films since then, when it comes to adult-oriented fairy-tales, this is one psycho-sexual journey that is still worth revisiting 40 years down the line.

The Company of Wolves

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