Indeed, Franz and Fiala went down that path out of a desire to close the gap between their viewers and their medium, and to coax a visceral reaction out of anyone brave enough to watch. Yet it didn’t initially start out as a horror film. Watching classic horror movies about evil kids made up part of the director duo’s research process, but Goodnight Mommy has a wholly individual cinematic identity: family terror rooted in paranoia and topped off with some of the blackest humor imaginable. Think of Goodnight Mommy as an example of terroir filmmaking, the kind of picture produced as the total sum of its influences rather than as a cheap imitation of them.
#WATCH GOODNIGHT MOMMY MOVIE MOVIE#
While Franz and Fiala’s movie fits quite snugly into the “creepy children” horror niche, it is ultimately the end result of their own thoughts, ideas and experiences rather than a simple pastiche of that subgenre. But don’t call Goodnight Mommy the new Funny Games. Our fair-haired lads can only arrive at one conclusion: This woman isn’t their mom at all.įranz and Fiala have made movies before-they’ve collaborated on shorts in the past, as well as the 2012 doc Kern-but Goodnight Mommy has vaulted them into new recognition alongside their fellow Austrian auteurs. Mom (Susanne Wuest) keeps Lukas and Elias at a distance and institutes new rules around the house, demanding that noise be kept to a minimum and that the blinds remain closed. It’s not just her bandage-wrapped visage that raises red flags. When she does, the boys notice she’s changed. In Veronika Franz and Severin Fiala’s psychological horror stunner Goodnight Mommy, twin brothers Lukas and Elias (Lukas Schwarz and Elias Schwarz) spend their days in isolated idyll in the Austrian countryside, collecting bugs and playing hide-and-seek in cornfields while they wait for their mother to return home following intensive facial surgery.
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