Dir/Wri: Isabella Torre | Cast: Elliott Crosset Hove, Angela Fontana, and Koudous Seihon | Italy, Sweden, Denmark, 90′
Hovering between fantasy and horror Isabella Torre fleshes out her debut feature Nymphs which premiered at Venice in 2018.
In deepest Calabria, a murky mystery unfolds in the remote and rugged Aspromonte mountains overlooking the Straits of Messina where an archaeologist (Crosset Hove/Godland) is searching for an ancient treasure. The dig unfortunately unleashes mythological creatures intent on wreaking havoc and retribution on the local inhabitants.
Similar to many outings in the genre, the film rides on its atmospheric visuals, sinister score (by Andrea de Sica) and troubling horror tropes – rather than suspenseful storytelling. Torre and her DoP Melanie Akoka concoct a creepy and uncomfortable sense of foreboding with this imaginative idea based on local legend, with the menacing message: ‘mess with nature and nature will bring you death and destruction’.
Many believe that when tampered with the earth and its supernatural forces will deliver a nasty sting in the tail to prospectors who disturb and plunder its resources disturbing the status quo. And we’ve certainly had a dose of it with the recent pandemic which, according to some sources, had its origins in an undiscovered bat cave.
In real life Calabria is mafia or ‘Ndrangeta’ country and well known for nefarious goings on such as kidnappings, disappearances and the like. Torre inventively sublimates fact into fiction with an imaginative tale about forces of evil that manifest as glassy-eyed nymphs roaming around and spooking the male archaeologist and his team with their unearthly presence, their nakedness suggestive of succubi-like beings that work their ‘magic’ at night in the subconscious, making a refreshing change from the ubiquitous vampires (and possibly inspired by Gustav Klimt’s 1899 painting ‘Water Nymphs’. An intriguing, well-crafted film that will certainly appeal to horror fans with its visual flair and evocative sense of place. Once again Elliott Crosset Hove lends a touch of religious fervour to this deeply ungodly feature. @MeredithTaylor
VENICE FILM FESTIVAL | CLOSING FILM AT VENICE DAYS 2024