La maldición de Lake Manor

Título original: Il nido

2019
16
1h 47min

PUNTUACIÓN EN IMDb

5,9/10

2,1 mil

TU PUNTUACIÓN

Reproducir trailer1:42

1 vídeo

38 imágenes

Horror Mystery

Samuel es un chico a quien sus piernas no sostienen que vive con su madre en una mansión aislada. Cuando conoce a Denise, encuentra el coraje para abrirse el mundo. Elena hará lo que haga fa... Leer todoSamuel es un chico a quien sus piernas no sostienen que vive con su madre en una mansión aislada. Cuando conoce a Denise, encuentra el coraje para abrirse el mundo. Elena hará lo que haga falta para mantener a su hijo en el estado.Samuel es un chico a quien sus piernas no sostienen que vive con su madre en una mansión aislada. Cuando conoce a Denise, encuentra el coraje para abrirse el mundo. Elena hará lo que haga falta para mantener a su hijo en el estado.

Ver la información de la producción en IMDbPro

PUNTUACIÓN EN IMDb

5,9/10

2,1 mil

TU PUNTUACIÓN

Ver la información de la producción en IMDbPro

Premios
- 3 nominaciones en total

Curiosidades
About her nude scene, Francesca Cavallin said, "We were already in Turin, and Roberto [De Feo] says to me, 'Before we start shooting I have a request to make of you, something personal. I have already talked about it with the production and the premise is that the final decision is yours. I've been thinking a lot about the scene where you cut yourself (I was originally supposed to be sitting on the edge of the bathtub, dressed, and he would start from the trickle of blood and go back up to me), and I'm asking you to do it nude. It's a nude that makes sense though, for the scene, for the character and her private moment. For me it would be much stronger, however, I defer to you, because it was not in the script.' I answer him, 'Roberto, for me nudity -if it makes sense- doesn't involve any problem. My body is my instrument, I am an actress.' Then we start talking about the scene, which was originally supposed to have me sitting, or semi-sitting, while cutting myself. Then I reflect on it and say, 'I have a proposal: what if I were in the fetal position? For a character like Elena, the most private moment, of returning to the essence, must correspond to a return to the uterine environment, to a condition of absolute protection from the outside world. In my opinion, for Elena there is no greater intimacy. And you should frame her from above, naked, inside that tub' The result was stylistically and visually perfect. It is a nude, but one of extraordinary elegance. And I was blown away when I saw the camera movement he did, 180 degrees. After he finished, he made a point of showing me the shot."

Citas
Elena: Poor little boy. Do you really think happiness doesn't come with a price?

Banda sonora
Piano Sonata No. 14 in C sharp minor, Op. 27 No. 2 'Moonlight'
Composed by Ludwig van Beethoven

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Comentarios

Reseña destacada

8/10

De Feo's "The Nest" may represent the rebirth of a long forgotten genre like the italian horror

Let's be clear: horror is a genre that in Italy has been forgotten for about 20-25 years. After ancient glories and masterpieces signed by worldwide-acclaimed masters such as Argento, Fulci, Avati and Bava, horror cinema seems to have totally disappeared from national screens.

Roberto De Feo's "The Nest" is the breath of rebirth and resurrection of a long forgotten genre. The Nest is a horror that does not point to fear or disgust with particular visual artifices, but adheres to a more suspended, obscure and implicit line like Robert Eggers' "The Witch". Except for two or three visually more decisive and explicit sequences (placed however in a timely manner and not inopportune) it is a film that is based on dark atmospheres, on a sense of anguish and on a feeling that something strange is about to occur. It is a horror that also presents very delicate sequences, not trivial and well cohesive with the rest of the work. A fairly predictable end, however, if one takes into account the clues given here and there in the film and the narrative evolution of the story. An ending that presents nothing innovative, but well cohesive with the premise built by the film.

On a technical level, it presents a really beautiful and extremely accurate photography, moreover being a horror, and an Italian horror. From the directorial style it would be very plausible to believe that it is an Anglo-Saxon or American production. De Feo's direction is obscure, punctual, precise, elegant, enveloping but also sufficiently detached. Actorial evidence is positive on the whole, except for some high and low of some actors.

The Nest could be the rebirth of a new wave of Italian horror, and I sincerely hope that it is not a beacon of darkness destined, inexorably, to go out to make a long-forgotten genre return to oblivion.

7.5/10