Have you ever had that feeling that something is really wrong? You know. Something is not quite right? In Irish film CAVEAT, Isaac (Jonathan French) has that feeling but he also has a desperate need for money. Hey we all have been there. You need money and want to make money but also have to deal with odd people and things. Isaac has to look after his landlord’s niece, Olga (Leila Sykes), for a few days. Hey that is the easy part surely. Well not so. You see to ‘look after’ her, he must wear a leather harness and thick chain. This restricts his movements to certain rooms and compels him to protect Olga’s extremely frail mental state. She is not at all happy with everything. Once he is left alone with her, it becomes clear that Olga erratic behaviour, disguises some truly unexpected things. Isaac will make one horrific discoveries after another, until the house triggers a deeply unpleasant reality.
The obvious visual cues of other films and horror in restriction and control, point the film to a well trodden place. It might seem to suggest that it wants its audience to be absorbed by bizarre attributes. So much horror has delved into (and made an excessive habit of) revelling in the ever increasing uneasy, oddity scale horror thriller. CAVEAT is a bit different. You can tell from the cast for one. Schooled actors and ranged performances. The scripting is another key. Muted, layered and structured. Perspective and rationalisation are key. Actually what you really get is the kind of layered monster movie that winds its way into your thoughts. A film like this has delivered if it works on your subconscious self. Making you lose the best of the night, in the wee small hours, it has branched off of its weird root and leaves other thoughts dripping down your neck. Or back. Or where ever.
EXTRA
The best additional extra from a person who enjoyed its point of view is the Director’s Commentary. I have taken pains to not mention the creative force behind the film above. Damian McCarthy is a skilled creator. He is as affable with an eye for texture. This has not only invigorated an average device in the commentary but also stood the film in great steed.
Special features:
- Director’s Commentary
- Producer’s Commentary
- Storyboards
