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The Innocents (2021)@teknon327d
I stared into space long after watching this film as I needed to process what I had just watched. I feel this is one of those movies put out there to deliberately enrage viewers. I’m not vegan but the animal cruelty in this film was really unnecessary. It would have done very fine without that scene.
Well, this is a slow burn horror film, one which I had to watch at 2x speed. It’s one of those films that left a chill in my chest. It’s actually not the kind of horror that screams or jumps at you. It’s the kind that sits you, makes you grit your teeth, the kind that enrages you.
It’s Original title is De uskyldige. It's set in a sleepy Norwegian apartment complex probably during the long days of summer.
The film follows a group of kids, Ida, Ben, Anna and Aisha who begin discovering strange powers among themselves. There’s telekinesis. Mind control. Emotional transfer. But I thought it was going to be fun and all until Ben made it sour and extremely disturbing.
This isn’t Stranger Things or Chronicle with its flashy suspense and big showdowns. This one is quieter, more psychological, and honestly more unsettling. The horror creeps in through moral ambiguity, casual violence and that eerie contrast between childish innocence and supernatural malice.
I would say the director did a decent job by lingering on silences, shadows, and long takes. There’s no background music that tries to manipulate or guide your emotional response. Just the natural sounds of kids playing, wind in the trees, distant traffic. That realism makes the moments of violence feel even more jarring.
It’s not a film that will linger long with you. The pacing is also too slow and demands patience. And it doesn’t explain everything. I found myself craving more clarity on why the kids had the powers they did and what it all meant. But honestly, I think the ambiguity makes it scarier. The unknown is part of the unease.
Would I recommend it? If you’re into subtle, disturbing, and psychologically sharp horror, absolutely yes. Just know what you’re getting into. It’s not about monsters. It’s about what children are capable of when no one’s really watching.
Rating? 3/5.
PS: originally not in English. You’ll need subtitles to understand.
A couple of days ago I reviewed The Happiest Day in the Life of Olli Mäki, a Finnish film that won the Un Certain Regard award at the Cannes Festival and that same night I saw a film that I had been wanting to see for a long time and I discovered that this other one also got a mention at the same festival a few years after the other. But I think that's where the similarities end because De uskyldige (The Innocents) is very, very different.
Hace un par de días reseñé The Happiest Day in the Life of Olli Mäki, una película finlandesa que obtuvo el premio Un Certain Regard en el Festival de Cannes y esa misma noche vi una película que tenía tiempo queriendo ver y decubrí que esta otra también obtuvo una mención en el mismo festival unos años después de la otra. Pero creo que allí terminan las semejanzas porque De uskyldige (The Innocents) es muy, muy diferente.
This Norwegian film, written and directed by Eskil Vogt, Joachim Trier's main screenwriter and the mastermind behind the writing of one of my favorite films in recent years called The Worst Person in the World, was released in 2021 and won awards in several festivals, but for some reason it has just been released in theaters in my country and when I saw the trailer on Instagram I remembered that I had put it on my list a long time ago because it made me curious. The Innocents has a somewhat clichéd beginning: a family moves to a new house in Oslo during the summer and their daughters must get used to a new life. But although the beginning seems worn out, from there the film offers things that are a little atypical. The daughters of the family are Ida, 9 years old, who becomes like the main protagonist of the story; and Anna, her older sister who has difficulty communicating verbally. Far from being the sweet little sister, Ida has a strange character for most viewers who see her commit questionable actions. So the film quickly immerses us in the story and gives us a premise: the children in this story are not ordinary. Neither Ida, nor Anna, nor the new friends they meet playing in the yard, Benjamin and Aisha, because in the midst of their childish naivety they discover that they have special abilities. Ben can move small objects with his mind, which is fun, and Aisha can mentally communicate with people, especially Anna, who soon becomes her friend.
Esta película noruega, escrita y dirigida por Eskil Vogt, guionista de cabecera de Joachim Trier y la mente maestra detrás de la escritura de una de mis películas favoritas de los últimos años llamada The Worst Person in the World, se estrenó en 2021 y fue premiada en varios festivales, pero por alguna razón se acaba de estrenar en los cines de mi país y al ver el trailer en Instagram recordé que la había puesto en mi lista hacía mucho tiempo porque me generaba curiosidad. The Innocents tiene un inicio un poco cliché: una familia se muda a una nueva casa en Oslo durante el verano y sus hijas deben acostumbrarse a una nueva vida. Pero aunque el inicio parezca gastado, a partir de allí la película brinda cosas un poco atípicas. Las hijas de la familia son Ida, de 9 años, que viene a ser como la protagonista principal de la historia; y Anna, su hermana mayor que tiene dificultad para comunicarse verbalmente. Lejos de ser la dulce hermana menor, Ida tiene un carácter extraño para la mayoría de los espectadores quienes la ven cometer acciones cuestionables. Así que rápidamente la película nos sumerge en la historia y nos da una premisa: los niños de esta historia no son comunes. Ni Ida, ni Anna, ni los amigos nuevos que conocen jugando en el patio, Benjamin y Aisha, porque en medio de su ingenuidad infantil descubren que tienen habilidades especiales. Ben puede mover pequeños objetos con su mente, lo que resulta divertido y Aisha puede comunicarse mentalmente con las personas, especialmente con Anna, quien pronto se vuelve su amiga.
Now, these abilities are not presented in the movie as if they were powers. That is to say, Charles Xavier does not appear to help them control them nor do the children begin to fight criminals, but - as is natural for children - they use these skills in their games. An adult in a similar situation would seek to understand and explain the origin of power, would judge a lot of things and rationalize the situation a lot, while a child assumes it as something more natural and has fun with it. He may not understand how and why he can do what he can do, but that is not relevant to him.
Ahora bien, estas habilidades no se presentan en la película como si fueran poderes. Es decir, no aparece Charles Xavier para ayudarles a controlarlos ni los niños comienzan a combatir criminales, sino que - como es natural en los niños - utilizan estas habilidades en sus juegos. Un adulto en una situación similar buscaría comprender y explicarse el origen del poder, juzgaría un montón de cosas y racionalizaría mucho la situación, mientras que un niño lo asume como algo más natural y se divierte con ello. Tal vez no entienda cómo y por qué puede hacer lo que puede hacer, pero eso no es relevante para él.
The problem begins when these games become darker and darker and we realize that the line between the game and real danger is very thin. Furthermore, it's true that children are normally smiling, happy and playful, but they also have explosions of rage or jealousy that - in the case of these children with powers - can produce tragic results. I really liked the way Eskil Vogt built increasing tension in the story until the climax arrives. The director and screenwriter has a couple of surprises and some more shocking scenes, but for a good part of the film you feel anguish, tension and it keeps the viewer attentive to what may happen. Added to that is the excellent acting of the four children and the way their characters relate to each other. In the group formed by Ida, Anna, Ben and Aisha, there are some sweeter, others crueler, some nobler, others more curious, and this mix awakens different emotions in the viewer who at times forgets that he's watching a group of children because there are situations that arise that are not at all childish and are really disturbing. It's not the same for a man to crush an animal for no reason as for a ten-year-old child to do so. Both are cruel, but it's easier for us to accept cruelty in the adult than in the infant.
El problema comienza cuando esos juegos se van tornando más y más oscuros y nos damos cuenta de que la línea que separa el juego del peligro real es muy delgada. Además, es cierto que los niños normalmente son risueños, alegres y juguetones, pero también tienen explosiones de rabia o de celos que - en el caso de estos niños con poderes - pueden producir resultados trágicos. Me gustó mucho la forma en que Eskil Vogt fue construyendo una tensión creciente en la historia hasta que llega el momento del clímax. El director y guionista se guarda un par de sorpresas y algunas escenas más impactantes, pero durante buena parte de la cinta se siente angustia, tensión y mantiene al espectador atento a lo que puede suceder. A eso se suma la excelente actuación de los cuatro niños y la forma en que sus personajes se relacionan. En el grupo formado por Ida, Anna, Ben y Aisha, hay algunos más dulces, otros más crueles, unos más nobles, otros más curiosos, y esa mezcla despierta diferentes emociones en el espectador que por momentos olvida que está viendo a un grupo de niños porque hay situaciones que se presentan que no son nada infantiles y resultan realmente perturbadoras. No es lo mismo que un hombre aplaste a un animal sin razón alguna a que lo haga un niño de diez años. Ambos son crueles, pero se nos hace más fácil aceptar la crueldad en el adulto que en el infante.
Although the media has sold it as a horror film, in my opinion The Innocents is a psychological thriller with some fantasy. There is drama, there are supernatural aspects, there is fear too, but I think tension and psychology predominate. At all times the atmosphere of the film is chilling and although we see the children playing, running and laughing, their childhood appears to us to be more complex and less happy than we are used to. The looks of all of them, their games and the decisions they make in much of the film make us question the unquestionable: the innocence of childhood. After having seen the film, one cannot help but add a question mark at the end of the title and that is something that shakes us because we are not used to seeing stories with cruel, violent and vengeful children, which does not mean that the film is implausible because one of its virtues is precisely that everything is very real and credible. Have any of you seen it? I read you in the comments.
Aunque los medios la han vendido como una película de terror, en mi opinión The Innocents es un thriller psicológico con algo de fantasía. Hay drama, hay aspectos sobrenaturales, hay miedo también, pero creo que predominan la tensión y lo psicológico. En todo momento la atmósfera de la película es escalofriante y aunque vemos a los niños jugar, correr y reírse, su infancia se nos presenta más compleja y menos alegre de lo que estamos acostumbrados. Las miradas de todos ellos, sus juegos y las decisiones que toman en buena parte del film nos hacen cuestionar lo incuestionable: la inocencia de la infancia. Después de haber visto la película no se puede evitar agregar un signo de interrogación al final del título y eso es algo que nos sacude porque no estamos acostumbrados a ver historias con niños crueles, violentos y vengativos, lo que no significa que la película resulte inverosímil porque una de sus virtudes es precisamente que todo resulta muy real y creíble, ¿alguno de ustedes la ha visto? Los leo en los comentarios.
Reviewed by | Reseñado por @cristiancaicedo
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"The Innocents" is a supernatural movie about children in an apartment complex who start to develop psychic powers. While not exactly ground-breaking in the paranormal genre, I thought it was interesting to see how different family situations, personalities, and the world of adults and children reacted with the introduction of psychic abilities. Children are often thought to live in a world of make-believe or playful nonsense but in this film we see adults who are terrifyingly oblivious to the social world of their offspring and limit communication due to lack of belief in the validity of children's experiences.
This movie reminded me a lot of the 1980 Japanese manga comic, "Domu: A Child's Dream," in which a young psychic girl must battle against a psychic old man who is terrorizing the population of a large apartment complex in Japan.
"The Innocents" was a much darker movie than I expected so be wary of violence toward children if you plan to watch this. It's basically a toned-down version of X-Men except with lonely isolated children ... so basically X-Kids instead of X-Men.
I liked how this movie compared how the home-life of different children can alter their adjustment to the sudden gift of power. If a child is raised in a loving home, there is a greater chance for them to use psychic powers for good while if they are abused at home they leave that familiar place and do familiar things with psychic powers -- becoming abusers themselves. This scenario goes back to the nature vs nurture argument though where the opposite could also be true: an abused child might use their powers to prevent abuse while a loved child might use their powers to do bad because of an ever-present expectation of love no matter what.
Ha pasado un largo tiempo, parece que los días se vuelven tan escasos entre mi universidad y responsabilidades laborales, no obstante, sigo de pie. Esto es una promesa para mi tranquilidad y también mi armonía como ser humano que ama el cine, el arte y la escritura.
It has been a long time, it seems that the days become so scarce between my university and work responsibilities, nevertheless, I am still standing. This is a promise for my peace of mind and also my harmony as a human being who loves cinema, art and writing.
En este prefacio inicial, quiero acotar que me he cruzado últimamente con películas y series que no me gustan o que realmente son terriblemente malas, por eso me acordé de una película de la cual me han hecho varias preguntas tanto acá en la comunidad de Movies & TV Shows como también en la de Writing Club. Me dije a mi mismo que dejaría de escoger lo primero y comenzaría a buscar.
In this initial preface, I want to point out that I have come across movies and series lately that I don't like or that are really terribly bad, so I remembered a movie that I have been asked several questions about here in the Movies & TV Shows community as well as in the Writing Club community. I told myself that I would stop picking the former and start looking.
Quería ver realmente una buena producción y en realidad no me puedo quejar, mis expectativas fueron más allá de lo que esperaba en plenitud. Se siente muy raro iniciar la introducción de una review de esta manera, siempre lo hago en implícito, pero me causa mucha emoción.
I wanted to see a really good production and I really can't complain, my expectations were beyond what I fully expected. It feels really weird to start the introduction of a review this way, I always do it in implicit, but it causes me a lot of excitement.
¿Son monstruos? Quien puede determinar esa apreciación imprecisa e irreal en sí misma, ¿son malos? Parece que la respuesta no posee una solución inmediata. ¿Qué es la maldad? Esto es una cuestión que va más allá de nuestra apreciación particular, ¿Cuál es la razón? Es que esto no es una mera posición, sino más bien algo de características subjetivas para cada uno de nosotros.
Are they monsters? Who can determine that vague and unrealistic assessment in itself, are they bad? It seems that the answer has no immediate solution. What is evil? This is a question that goes beyond our particular appreciation, what is the reason? It is that this is not a mere position, but rather something of subjective characteristics for each of us.
Cuatro niños, tres familias y algo oculto que no se puede expresar fácilmente con una simple observación, ¿Por qué sucede esto? La cuestión radica en un punto unánime, es que somos seres mortales. ¿Son los niños malos? Esa respuesta es algo que se debe determinar, ¿cómo? La cuestión queda dilucidada en esta interesante producción.
Four children, three families and something hidden that cannot be easily expressed with a simple observation, why does this happen? The question lies in a unanimous point, it is that we are mortal beings. Are children bad? That answer is something to be determined, how? The question is elucidated in this interesting production.
Al iniciar al ver la película quería entender, quería sobre todas las cosas ver y analizar qué era lo que provocaba la determinación con respecto a cada uno de los niños. Una de las cosas que causa intriga es como: Ida (actuación interpretada por Rakel Lenora Fløttum), observa a su madre en el carro cuando despierta y visualiza a su hermana Ana (papel interpretado por Alva Brynsmo), para posteriormente pellizcarle, cualquiera puede entablar en primera instancia que es una niña malvada, pero esto es solo una premura, se debe analizar todo muy bien antes de establecer una posición sólida de los aspectos.
When I started watching the film I wanted to understand, I wanted above all things to see and analyze what it was that caused the determination with respect to each of the children. One of the things that causes intrigue is how: Ida (played by Rakel Lenora Fløttum), observes her mother in the car when she wakes up and visualizes her sister Ana (played by Alva Brynsmo), to later pinch her, anyone can firstly assume that she is an evil child, but this is just a premature, everything must be analyzed very well before establishing a solid position of the aspects.
¿Anna e Ida viven en un hogar disfuncional? La respuesta es no, viven en un hogar preferencial, pero esto no es una cuestión en donde ellas dos sean las responsables; sino más bien sus padres. Los niños son el reflejo de lo que sus padres hacen o inculcan, pero, ¿qué pasa cuando este no genera un balance en sus emociones? La respuesta es simple: vacío. Tal emoción es difícil de llenar, y puede provocar agonía o peor aún un comportamiento sistemático que derive en la tergiversación del patrón correlativo que debe seguir el niño en el entorno social, ¿delincuente, homicida o maniaco? Estos tres puntos son los que derivan en uno de los aspectos más controvertidos tanto en la película como en la propia realidad que nos rodea.
Do Anna and Ida live in a dysfunctional home? The answer is no, they live in a preferential home, but this is not a question where the two of them are responsible, but rather their parents. Children are the reflection of what their parents do or instill, but what happens when this does not generate a balance in their emotions? The answer is simple: emptiness. Such emotion is difficult to fill, and can cause agony or even worse a systematic behavior that derives in the misrepresentation of the correlative pattern that the child must follow in the social environment, delinquent, homicidal or maniac? These three points are what lead to one of the most controversial aspects both in the film and in the reality that surrounds us.
Ida a simple vista puede que demuestre un papel malévolo, pero también existe algo que provoca que actuara de esta manera. Citó, en una parte ella efectúa algo malévolo, pero lo hace para llamar la atención, ¿por qué los niños hacen eso? Puede que su corazón dictaminara que sus padres sentían más devoción y preocupación por su hermana Anna, es más, me atrevo a asegurarlo, ¡esto queda muy marcado en la película!
Ida at first glance may show a malevolent role, but there is also something that provokes her to act in this way. She quoted, in one part she performs something malevolent, but she does it for attention, why do children do that? Maybe her heart dictated that her parents felt more devotion and concern for her sister Anna, in fact, I dare say it, this is very clear in the movie!
Por otro lado, está el papel de Aisha, ¿es ella realmente buena? Me partió el alma, su final, pero es un contexto en donde te hace reflexionar, ¿¡objetividad!? Más lejos de esto, veo a la película como un punto de encuentro que permite analizar problemas de disfuncionalidad; así como también sus patrones de conductividad (esto último es uno analizado sociológicamente y criminológicamente).
On the other hand, there is the role of Aisha, is she really good? It broke my soul, her ending, but it's a context where it makes you reflect, objectivity!? Further from this, I see the film as a meeting point that allows to analyze problems of dysfunctionality; as well as its behavioral patterns (the latter is one analyzed sociologically and criminologically).
¿El delincuente nace o se hace? Esta es una de las preguntas que pueden surgir cuando vez la película y comparas si los niños son bueno o malos, pero la cuestión es que ninguna de las dos determinaciones principales son 100% viables, es más bien una decisión o una emoción interna que determina el individuo como tal, por eso ver el comportamiento de 4 niños y compararlo con la realidad resulta, duro, pero también para nada solidificado.
Is the delinquent born or made? This is one of the questions that may arise when you watch the film and compare whether the kids are good or bad, but the point is that neither of the two main determinations are 100% viable, it is rather a decision or an internal emotion that determines the individual as such, that's why watching the behavior of 4 kids and comparing it with reality is, hard, but also not at all solidified.
La película es genial, a mi modo de ver es un manantial apreciable, sobre todo ese sonido que te asusta, pero el horror es debido a los desmanes emocionales o más bien lo que es capaz de hacer alguien que aún no ve más allá de los propios contextos reales de lo que significa vivir.
The movie is great, in my opinion it is an appreciable spring, especially that sound that scares you, but the horror is due to the emotional outrages or rather what is capable of someone who still does not see beyond their own real contexts of what it means to live.
Me hacía mucha falta escribir una review, pero más lejos de esto me hacía falta disfrutar una buena producción. Aparte quería ahondar a profundidad de ella para visualizar que puntos exquisitos son atractivos para la literatura y puedo decir a plenitud que estoy totalmente satisfecho.
I really wanted to write a review, but more than that I wanted to enjoy a good production. Besides, I wanted to delve into it in depth to visualize what exquisite points are attractive for literature and I can fully say that I am totally satisfied.
Una de las cuestiones que me hace tomar un posicionamiento con respecto a la película es producto a la estigmatización de que los cuatro niños tienen un comportamiento que les define como malvados, siempre me gusta darle una visualización general y profunda a todo. Esto posibilita ver las diferentes posiciones, es más, las personalidades de cada uno es la que aclarará sus dudas si ve esta producción.
One of the issues that makes me take a position regarding the film is due to the stigmatization that the four children have a behavior that defines them as evil, I always like to give a general and deep visualization to everything. This makes it possible to see the different positions, moreover, the personalities of each one is what will clarify your doubts if you see this production.
Anna es una niña, hermosa, pero venga uno de los posicionamientos en la película, me hizo ver si ella es la víctima o también parte de todo, ¡tendría que ver el final o partes de enfrentamiento en ella para tomar una posición al respecto! Un universo andante que debe ser descifrado. Otra de las cuestiones que no me agradó mucho fue el maltrato infringido a Anna, en perspectiva es un poco repulsivo, y más el del niño Ben, que evidencia un patrón de psicopatía palpable, ¡el papel de este niño es abrumador!
Anna is a girl, beautiful, but come one of the positions in the film, it made me see if she is the victim or also part of everything, I would have to see the end or parts of confrontation in her to take a position on it! A walking universe to be deciphered. Another issue that did not please me much was the mistreatment inflicted on Anna, in perspective it is a bit repulsive, and more so that of the child Ben, who evidences a palpable pattern of psychopathy, the role of this child is overwhelming!
¿La maldad es general o particular? ¿Qué es la maldad? Ellos saben realmente que significa el término, y además que es bueno o correcto. Deben establecerse connotaciones precisas sobre ello, aun la película está marcadísima en mi piel y esencia a pesar de solo verla ayer.
Is the wickedness general or particular, what is wickedness? They really know what the term means, and further that it is good or right. Precise connotations must be established about it, even the movie is scarred to my skin and essence despite only watching it yesterday.
Lo que puede obtener o lo que trasmite la película parte de una cuestión básica: La familia, ese pequeño núcleo, determina y ayuda a posicionar si el niño verdaderamente está creciendo adecuadamente. Cito el caso de Ben, papel interpretado por Sam Ashraf, a leguas se ve la distorsión en su casa aparte de una evidencia de carencia de afecto y maltrato externo. Esto puede incidir, no obstante, me recuerda a cuestiones extremas de la conducta criminal, aunque esto es irreal, no quiere decir que no puede ocurrir en la vida real, incluso existen casos donde se ha visto este patrón retrógrado y no se corrige a tiempo y después todo termina muy mal.
What can be obtained or what the film conveys starts from a basic question: The family, that small nucleus, determines and helps to position if the child is really growing up properly. In the case of Ben, played by Sam Ashraf, the distortion in his home is plain to see, as well as evidence of lack of affection and external abuse. This may have an impact, however, it reminds me of extreme issues of criminal behavior, although this is unreal, it does not mean that it can not happen in real life, there are even cases where this retrograde pattern has been seen and is not corrected in time and then everything ends very badly.
Un niño en un país latinoamericano, no tendrá la misma visión que uno en Europa y este último no tendrá la misma perspectiva que uno en Asia o Norteamérica y esto se reduce a una cuestión sencilla: cultura y ciudad. Estos dos elementos son determinantes para definir las distorsiones humanas, un niño en Japón puede que tenga una mayor visualización de las perspectivas que uno que nació en España (esto se puede evidenciar en las horas de estudio para citar un ejemplo). Acoto esto debido al mensaje: La maldad está, existe, él decide si aplicarla, no obstante, ¿él sabe que es malo? ¿Cuándo un niño entiende que existen cosas abominables? Eso dependerá del nivel de asimilación y su calidad de formación en su hogar.
A child in a Latin American country will not have the same vision as one in Europe and the latter will not have the same perspective as one in Asia or North America and this boils down to a simple question: culture and city. These two elements are determinant to define human distortions, a child in Japan may have a greater visualization of perspectives than one who was born in Spain (this can be evidenced in the hours of study to cite an example). I add this because of the message: evil is there, it exists, he decides whether to apply it, however, does he know what is evil? When does a child understand that there are abominable things? That will depend on the level of assimilation and his quality of formation at home.
Todo esto que estoy acotando es un posicionamiento personal que se deduce con cada una de las escenas de la película como tal.
All this that I am stating is a personal position that is deduced with each of the scenes of the film as such.
La historia está centrada en la familia de Anna e Ida, la primera es una niña con autismo y la segunda en su mayor tiempo sus padres le ven como una guardiana o tutora de su hermana, pero lejos de esto ella sigue siendo alguien que siente y adolece. Anna por alguna razón extraña posee un poder sobrenatural que la entrelaza con una niña llamada Aisha, papel interpretado por Mina Yasmin Bremseth, ¡alguien muy cálida a mi modo de ver! Pero que también posee algo de dolor en su corazón. En este punto todas convergerán con Ben, quien se aprovechara de todo para causar actos malévolos, pero que desprenden aberración y pavor al ser inhumanos.
The story is centered on Anna and Ida's family, the first one is a girl with autism and the second one in her major time her parents see her as a guardian or tutor of her sister, but far from this she is still someone who feels and suffers. Anna for some strange reason possesses a supernatural power that entwines her with a girl named Aisha, a role played by Mina Yasmin Bremseth, someone very warm in my opinion! But who also possesses some pain in her heart. At this point they will all converge with Ben, who will take advantage of everything to cause malevolent acts, but which give off aberration and dread to be inhuman.
¿Quién es el culpable? Al parecer el corazón humano de los cuatro niños.
Who is the culprit? Apparently the human heart of the four children.
Desenlace y apreciaciones || Conclusion and appreciations
Cada uno de nosotros fuimos niños y efectuamos algo que hoy consideramos incorrecto, pero esa apreciación en ese instante de nuestras vidas puede que no fuera carente de entendimiento o madures.
Each one of us was a child and did something that today we consider wrong, but that appreciation at that moment in our lives may not have been lacking in understanding or maturity.
Igualmente, cada uno de nosotros camina, cada uno de nosotros ve el mundo y sobre todas las cosas se enfrenta a las realidades que debemos enfrentar. Si usted llegó a este punto de la vida significa que ha superado su dolor interno, que supero eso que dolía cuando era pequeño y que enfrento con gallardía la tergiversación de su mundo. Cada quien puede mirarse hoy y decir que no es Ben, pero que sufrió como Ida o más lejos que guardó silencio como Anna, pero también que tuvo que afrontar ser diferente como ellos tres y quizás su corazón sintiese tristeza, pero no se dejó llevar por ella como Ashia.
Likewise, each one of us walks, each one of us sees the world and above all we face the realities that we must face. If you have reached this point in life, it means that you have overcome your inner pain, that you have overcome that which hurt when you were a child and that you have faced with courage the distortion of your world. Everyone can look at himself today and say that he is not Ben, but that he suffered like Ida or further that he kept silent like Anna, but also that he had to face being different like the three of them and maybe his heart felt sadness, but he did not let himself be carried away by it like Ashia.
Usted y yo tenemos algo en común, ¿sabe que es?: Somos simples seres humanos.
You and I have something in common, you know what it is: we are simple human beings.
El separador utilizado fue elaborado con la primera imagen de esta publicación, la cual, está debidamente identificada con su respectiva fuente.
The separator used was elaborated with the first image of this publication, which is duly identified with its respective source.
›The Innocents, hasta donde puede llegar la crueldad de un niño?/The Innocents, how far can the cruelty of a child go?@yennysferm711584d
Saludos a todos Hivers, deseo que estén muy bien. Esta es mi primera publicación en esta Comunidad Películas y Programas de Televisión, para mi es muy emocionante comenzar a formar parte de uds, ya que una de mis pasiones es consumir, compartir y conversar con amigos y familiares sobre las películas que veo, ya que es una actividad que no solo reduce el estrés y me distrae, sino que también me mantiene positiva y analítica.
Hace un par de semanas disfruté tres veces de ver la película The Innocents... si tres veces, la ví la primera vez y me gustó tanto que se la recomendé a mi hijo y la ví con él de nuevo; luego se la recomendé a mi otra hija y la volví a ver. Esto me pasa muy a menudo.
Innocents es una película del director noruego Eskil Vogt, del año 2021. Me gustó demasiado porque nunca había consumido cine noruego y desde el principio me sorprendí sintiendo diferente, viviendo la experiencia de una narración muy diferente a la que estoy acostumbrada con el cine estadounidense (que me encanta por cierto), pero ciertamente fue una experiencia sensorial durante toda la película.
Se desarrolla en un complejo de edificios residenciales en Oslo, durante época de vacaciones cuando no están todos los residentes, por lo que se siente algo desolada la locación y ya este ambiente te hace sentir una ligera tensión sobre de que va la película, ya empiezas a experimentar el misterio.
La historia se centra en la relación de cuatro niños, y aunque en la película se ven no solo a los niños sino también sus padres, básicamente sientes que está narrada desde el punto de vista de los niños.
Los núcleos familiares de los cuatro niños protagonistas son así:
La familia de Anna e Ida: La película empieza con ellos mudándose a el complejo de edificios, papá, mamá y las niñas Anna que tiene un tipo de autismo y su hermana menor Ida, que se hace responsable de acompañar a su hermana dada su discapacidad, pero que disfruta hacerle maldades a Anna, se nota como ciertos celos por la atención que tiene Anna por parte de su familia.
La familia de Ben, es sólo él y su mamá. Se han mudado varias veces y el niño tiene moretones, que ya te hacen saber que algo anda mal con él.
La familia de Aisha, es sólo ella y su mamá, quien tiene como problemas de depresión por el abandono de su esposo. Aisha es un personaje muy lindo en verdad.
Anna y su hermana Ida bajan a distraerse en el parque en las tardes. Ida conoce a Ben, quien ya había descubierto ciertos poderes de telequinesis y los muestra en forma de juegos e inocentemente a Ida. Anna que es dejada por Ida en el parque, conoce a la niña Aisha, con quien desarrolla una comunicación especial ya que por su autismo no habla, pero Aisha la entiende y se comunican. Así empiezan a plantearse los poderes de los niños, todo sin que ningún adulto lo sepa y de forma de juegos.
Pero el villano de la película es el niño Ben, quien tiene un grado de maldad que va aumentando en cada acción; brindando una historia de terror, envuelta de poderes sobrenaturales, pero no al estilo de Hollywood, y tanto su desarrollo, clímax y final son escalofriantes de verdad.
Es diferente el hilo de misterio, la música que sutilmente acompaña toda la película se convierten en los latidos de tu corazón, la psicología de las luces en el parque, las sombras, los colores que cada apartamento te dice demasiado y te envuelve por completo.
Como les dije la narración es prácticamente desde el punto de vista de los niños, te hace reencontrarte con sensaciones de la niñez sobre esas pequeñas maldades que a veces hacen los niños y no necesariamente quieren decir que seas un mal niño, es como la forma en como se va aprendiendo y experimentando el mundo. Es decir, cuando un niño pellizca a otro, no necesariamente quiere decir que ese niño es malo, o si escupes desde el edificio hacia abajo, o si no quieres cuidar a tu hermana, por ejemplo. Pero ¿Si estos comportamientos no son orientados y atendidos por los adultos que resultaría?
También como niños a veces no contamos las cosas a los adultos, y cuando eres adulto y piensas en esto, en que los niños pueden meterse en verdaderos problemas por simplemente no comunicarse, esto es otro tipo de terror psicológico, ya que piensas ¿por qué no se lo dicen a su familia? pero es así, a veces los niños no cuentan las cosas.
Dado que es mi primera publicación en esta Comunidad, aún no he desarrollado un estilo, creo que no quiero contarles los hechos importantes de la película, porque de verdad quisiera que la vean y que experimenten las sensaciones que tuve, el terror, recordar como actuabas de niño, recordar a alguien que era así de malo o cuando tu mismo lo fuiste, sentir como cierta impotencia que no intervenga un adulto en asuntos serios con niños, y por supuesto que vivas el terror de la historia.
Me identifico con las películas en las que los personajes toman decisiones que uno tomaría, no las películas que los personajes pasan o toman acciones porque sí, porque es necesaria en la trama. Sin embargo, esta película conecta con nuestra memoria infantil, donde tenemos curiosidad, donde nos cuestionamos si algo es malo o no dependiendo de los valores que cada familia ha inculcado, y a veces ves las situaciones raras pero no actúas en consecuencia porque estás como absorbido por la propia nueva experiencia y por no juzgar a primera mano todo y a todos como sí hacemos de adultos.
Fue un viaje sensorial y las actuaciones de los niños fueron buenísimas, se sentían como ellos mismos, sin tener grandes expresiones de drama, eso lo hizo sentir mas natural y a la vez escalofriante.
Deseo que mi apreciación les haya llamado la atención y los motive a ver la película, y también quiero continuar escribiendo en esta comunidad, permitiéndome ir mejorando con cada publicación ya que esto es nuevo para mí.
Un saludos muy grande en la distancia...
Las fotos tienen indicadas sus fuentes.
Greetings to all Hivers, I wish you are very well. This is my first publication in this Community Movies and TV Shows, for me it is very exciting to start being part of you, since one of my passions is consume, share and talk with friends and family about the movies I watch, as it is an activity that not only reduces stress and distracts me, but also keeps me positive and analytical.
A couple of weeks ago I enjoyed seeing the movie The Innocents three times... yes three times, I saw it the first time and I liked it so much that I recommended it to my son and watched it with him again; I then recommended it to my other daughter and saw it again. This happens to me very often.
Innocents is a film by the Norwegian director Eskil Vogt, from 2021. I liked it too much because I had never watched Norwegian cinema and from the beginning I surprised myself feeling different, living the experience of a narration very different from what I am used to with American cinema (which I love by the way), but it was certainly a sensory experience throughout the entire movie.
takes place in a complex of residential buildings in Oslo, during the holiday season when not all the residents are there, so the location feels somewhat desolate and already this environment makes you feel a slight tension about what the film is about, as you start to experience the mystery.
story focuses on the relationship of four children, and although in the film you see not only the children but also their parents, you basically feel that it is narrated from the children's point of view.
The family nuclei of the four protagonist children are as follows:
Anna and Ida's family: The film begins with them moving into the building complex, dad, mom and the girls Anna who has a type of autism and her younger sister Ida, who is responsible for accompanying her sister due to her disability , but that he enjoys doing bad things to Anna, it shows as a certain jealousy for the attention that Anna has from her family.
family, it's just him and his mom. They have moved several times and the child has bruises, which already let you know that something is wrong with him.
family is just her and her mother, who has depression problems due to the abandonment of her husband. Aisha is a very cute character indeed.
Anna and her sister, Ida, go down to amuse themselves in the park in the afternoons. Ida meets Ben, who had already discovered certain powers of telekinesis and shows them in the form of games and innocently to Ida. Anna, who is left by Ida in the park, meets the girl Aisha, with whom she develops a special communication since she does not talk about her because of her autism, but Aisha understands her and they communicate. This is how the powers of children begin to be considered, all without any adult knowing and in the form of games.
the villain of the film is the boy Ben, who has a degree of evil that increases with each action; providing a horror story, wrapped in supernatural powers, but not in the style of Hollywood, and both its development, climax and ending are truly chilling.
thread of mystery is different, the music that subtly accompanies the entire film becomes the beating of your heart, the psychology of the lights in the park, the shadows, the colors that each apartment tells you too much about and surrounds you completely.
As I told you, the narration is practically from the children's point of view, it makes you rediscover childhood sensations about those little evil things that children sometimes do and they don't necessarily mean that you are a bad child, it's like the way how the world is learned and experienced. That is, when a child pinches another, it does not necessarily mean that child is bad, or that you spit from the building down, or that you do not want to take care of your sister, for example. But what if these behaviors are not guided and attended by adults?
As children sometimes we don't tell adults things, and when you're an adult and you think about this, that children can get into real trouble for simply not communicating, this is another type of psychological terror, since you think why don't you tell your family? but it's like that, sometimes children don't count things.
Since it is my first publication in this Community, I have not yet developed a style, I think I do not want to tell you the important facts of the film, because I really want you to see it and experience the sensations I had, the terror, remember how you acted as a child, remembering someone who was that bad or when you yourself were, feeling a certain impotence that an adult does not intervene in serious matters with children, and of course that you live the terror of history.
I identify with movies where the characters make decisions that one would make, not movies where the characters go through or take actions just because, because it's necessary in the plot. However, this film connects with our childhood memory, where we are curious, where we question whether something is bad or not depending on the values that each family has instilled, and sometimes you see strange situations but you do not act accordingly because you are absorbed by own new experience and for not judging everything and everyone first-hand as we do as adults.
was a sensory journey and the performances of the children were great, they felt like themselves, without having great expressions of drama, that made it feel more natural and at the same time chilling.
I hope that my appreciation has caught your attention and motivates you to see the film, and I also want to continue writing in this community, allowing myself to improve with each publication since this is new for me.
›Jack Clayton, 'The Innocents,' and 'Something Wicked This Way Comes'@janenightshade2460d
*There was an extensively different cut of Jack Clayton's **Something Wicked This Way Comes (1983)** that a lot of people would like to see. Above is a scene from the film that was eventually released.*
There are a few things floating around the cinema world I’d like to see before I go. One biggie is the original cut of Eyes Wide Shut (1999) that Stanley Kubrick delivered to Warner Brothers just before he died. It's rumored that a full twenty minutes were cut out of the film, allegedly supervised by Sydney Pollack, before it hit the theaters. Many people believe that Kubrick was murdered for that missing footage. (I used to laugh at stuff like that, until Jeffrey Epstein committed “suicide” by hanging himself in his jail cell with a paper bedsheet.)
Another point of interest is the fabled missing footage that was cut out of Paul W. S. Anderson’s hybrid sci-fi/horror film, Event Horizon (1997) -- footage which is reportedly so gruesome it defies description. No skullduggery is responsible here; the footage was apparently straight-up lost due to epic carelessness on the part of the director/production crew.
And then there’s the original version of Something Wicked This Way Comes (1983) — based on the Ray Bradbury dark fantasy novel — that Jack Clayton delivered to Disney. Note, it wasn’t just a “director’s cut” — it was a whole 'nother film, with a different score, a different ending, and a ton of footage that was later cut, then re-shot, and re-edited.
Perfidious Disney Executives
Disney executives hated Clayton’s version, took it away from him, and butchered it. Reportedly, it was “too dark” for Disney’s family-oriented tastes. Among the things that were cut was an inventive animated sequence that depicted Bradbury’s famous dark carnival growing out of the ground like a tree. Also cut was a spooky score by French composer Georges Delerue, one of the best and most prolific film composers in cinema history. The film that was eventually released, starring Jason Robards and Jonathan Pryce, is “decently nice” (that’s how Bradbury described it), but I’d bet my firstborn that the original film was a horror masterpiece.
In terms of sheer talent, Clayton ranked with the giants of the 21st Century. A protege of John Huston, he played in the same sandbox as Kubrick, Welles, and Hitchcock. A guy with only ten director’s credits to his name, he was impressively nominated three times for a best director Oscar, winning once for the short, The Bespoke Overcoat (1954).
Unfortunately, Clayton was, by many accounts, an extremely difficult person to work with. He was reportedly so eccentric and perfectionist that he made Kubrick look like Easy Ed from the corner bar. He directed only seven full-length feature films, although he worked in developing many others: he kept getting pulled off of projects, most likely for being “difficult.” To be fair, in the late 70s his career suffered a serious setback that wasn't caused by personality problems: he had a severe stroke, and was forced to re-learn how to speak and walk, which took five years of hard work and therapy.
As a director, Clayton showed a distinct taste for the macabre. He is, of course, the director of one of the greatest psychological horror films of all time, The Innocents (1961) — a film that has influenced big-name directors as varied as Martin Scorcese, David Lynch, and Guillermo Del Toro. Side note: Scorcese and Lynch later both hired Freddie Francis, the legendary DP for The Innocents, to shoot films for them. Francis shot Cape Fear (1991) for Scorcese and The Elephant Man (1981), Dune (1984), and The Straight Story (1999) for Lynch.
Even Clayton’s straight drama films have macabre elements, which is why I like to think of him as the greatest horror director who wasn’t actually a horror director. His version of The Great Gatsby (1974), for example, was marketed as a lush, romantic period piece, but the strongest and most memorable scenes are those that look like they belong in a horror film. Gatsby '74 opens with creepy shots of the vast, empty rooms of Jay Gatsby’s mansion, while faint, ghostly party sounds play in the background. These scenes look like they belong in The Shining. One of the unforgettable scenes shows Karen Black rapping on a window pane with her knuckles until it breaks, then licking the blood off her cut fingers (this scene appears nowhere in the book.)
One of his best films is the highly underrated Our Mother’s House (1967), which features a knock-out performance by Pamela Franklin, who played Flora in The Innocents. Our Mother’s House is a scocial satire about a group of children who bury their deceased mother in her garden and pretend to the world that she’s still alive. Despite being a social satire, it's pretty creepy. Stephen Spielberg is said to admire this film greatly.
If only Clayton had followed his natural inclinations (and been less cantankerous and perfectionist), we might have had a whole slew of high-class horror films from him to enjoy today. But at least we have The Innocents. And maybe someday, someone will find the original version of Something Wicked This Way Comes and release it. Don’t hold your breath though — if Disney’s got it, they won’t do a thing unless they can make buckets of money off of it.
