Title : The directors of 'XX' reveal their horror inspirations: The Babadook really landed with me
The directors of 'XX' reveal their horror inspirations: The Babadook really landed with me
Article Entertainment, The directors of 'XX' reveal their horror inspirations: The Babadook really landed with me. I watched it with my husband one night in the dark, after our son had gone to sleep, and it wormed its way under my psychic skin with its awkward, depressive lead character and snaky sense of dread. I went to bed thinking about what an assured and controlled film I'd just watched, and what a complete vision I'd just experienced. But beyond the film's technical and tonal prowess (manifest in its very consciously monochromatic production design, beautiful soundscapes, and very thoughtful camerawork), this is a film that really lives inside of its emotional ideas. The best horror films manage to locate one monster as a way to reveal an even more fearsome one -- and in the case of The Babadook, there is the external horror of a more typical bogeyman figure uncovering the more visceral horror of motherhood itself. Though we see our main characters Amelia and Samuel living in terrorized opposition to The Babadook (itself a refreshingly DIY re-imagining of older horror movie tropes), halfway through the film one feels afraid for this mother-son duo not because of a supernatural "It" but because of their all-too-human mental health problems: We're afraid that young Samuel is either the sanest -- or the most insane -- person in the room, and more crucially, we're afraid that Amelia might finally just give up on her life and kill her child. The grief that Amelia endures after the loss of her husband calls her maternal devotion into question, and we witness her spiral of resentment and exhaustion become an extension of The Babadook's expressions of nihilism. We're asked to wonder if SHE is the biggest monster in the room, while perhaps the Babadook is simply a convenient foil for her feminine wrath. But the fact is all of this can be true in Jennifer Kent's complex, ambiguous film. Amelia has moments of legitimate monstrousness, and so does Samuel in a more oblique way. But it's the larger world — the one that asks them to normalize away from their weirdness and conform to a limited emotional time-table in their sorrow — that really serves as the biggest monster they have to face. And when they stare that monster down, it's so satisfying. By the end, I was heartened and deeply moved by Amelia's maternal call-to-arms, and literally made a fist and hissed "yes!!!" under my breath when she screams "YOU are trespassing in MY house!" to the malevolence that's invaded her life. I've been that woman in some way or another — I know how body-shaking fear can morph into a no-holds-barred kind of rage. I know how shaken, and then how strong, we have to be to get there. I understand Amelia, and clearly, so does the director. There are so many ways a woman can be human, and The Babadook allows for multitudes in that character, making her complicated and distinct, connecting us to a larger truth in the process. XX is available in theaters, on demand, and for download on Amazon Video and iTunes now.
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