Film: His House (2020)

‘Your ghosts follow you. They never leave.’

As his debut feature, Remi Weekes’ His House is packed to the brim with commentary and this is a film I’ll likely discuss, and recommend, for a long time. 

Weekes documents the horror, and inescapable trauma, of the refugee experience – particularly at the hands of the British asylum system and systematic racism. The pressure to adapt to a new environment while simultaneously handling displacement, racism and trauma is portrayed through the nightmares and visions of our characters, Bol and Rial, as they live as asylum seekers in London. 

Although the film was a slow burn, and some of the visual horror felt unnecessary, Weekes really stands apart from other directors in his portrayal of what I’d say is the most important aspect of the film – trauma. His House shows us that the ghosts of our past are brought with us everywhere we go, and in the case of Bol and Rial’s tragic circumstances, these ghosts can really push us to our limits. 

This is a promising start to Remi Weeke’s career. His horror debut doesn’t just tackle class and racial borders, but the plight of refugees too, and I commend Weekes for packing so much important social commentary into one short film. His House ultimately reminds audiences that this is a true story of trauma and not just a haunted house tale; and it makes me incredibly excited to see Remi Weekes future work.


Film: Saint Maud (2019)

Saint Maud presents itself as a story of the darkest depths of loneliness and what this can really do to a person such as our beloved Maud. Sent to be a carer for a dancer and choreographer who is slowly dying from lymphoma, Maud tries to save her, but ultimately this is not the fate her God has decided for her. 

Rose Glass captures the trauma that Maud has faced wonderfully on screen – or at least, as wonderfully as you can capture a true tragedy. As a character, Maud is undeniably lost. She wants to feel love, to feel wanted and ultimately, she wantsto tackle her demons. As Maud went through every motion, it seemed to be Glass’ intention that the audience felt it with her. I did, and Rose Glass created a wonderful piece of art with Saint Maud

If more details had been revealed about Maud’s dark past, the exegesis of the narrative could have been entirely different. Which is what helps to make Saint Maud quite beautiful – the puzzle pieces of Maud’s backstory leave her fate entirely open to various interpretations from its viewers. 

As her directorial debut, Rose Glass has presented us with an incredibly strong female-fronted horror film. I just hope that Glass’ brings us a longer feature next time.