Cámara:
Šimon DvořáčekMúsica:
Aid KidReparto:
Simona Peková, Jiří Rendl, Annette Nesvadbová, Vladimír Kratina, Judit Pecháček, Jan Vondráček, Vasil Fridrich, Denisa Barešová, Michal KernSinopsis(1)
Jirka and Aneta are a young couple who enjoy the routine of their quiet relationship and are in no hurry to make big decisions in life. One night in their inherited flat, the doorbell rings and standing at the door is Jirka’s mother Valerie. An initially brief visit turns into a never-ending stay by an intense and caustic diva whose presence fundamentally disrupts the couple’s privacy. Certainties are shaken, boundaries broken. Although the film’s directorial duo works with a familiar premise, they subvert any dark humor with a sense of tension more commonly found in horror movies, all of it wrapped in the penetrating question: Is the mother’s unbearable smothering legitimate or are mothers sometimes the biggest monsters of all? (Karlovy Vary International Film Festival)
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Reseñas (7)
Llegó en la noche es una comedia negra que transpone experiencias familiares y de relaciones pasadas en forma de una película casi de terror, basada en una premisa anecdótica simple: tu suegra viene a visitarte a casa. Y el humor y la sorpresa funcionan perfectamente en ello. Con gran probabilidad, la película checa más interesante y divertida de este año. [KVIFF 2023]
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La mejor comedia checa de los últimos años, que eleva el tratamiento del tema de relaciones familiares distorsionadas a un nivel mundial al unir elementos de géneros más inquietantes, como el terror o el thriller de invasión de hogar: un género basado en la premisa angustiosa de que la intimidad del hogar de los protagonistas es perturbada por algún intruso externo. En este caso, ese intruso es una madre despiadada, manipuladora, posesiva, egocéntrica y emocionalmente chantajista, pero también trágicamente solitaria, que se instala en el apartamento de su hijo y su novia. A partir de una idea simple, con recursos modestos y en condiciones íntimas, lograron sacar el máximo provecho. La película parte de diálogos y situaciones familiares observados con precisión, cuya incomodidad se intensifica hasta alcanzar niveles absurdos. La narración está diseñada sistemáticamente para que cada escena sea cómica y angustiosa al mismo tiempo, y para que se pueda leer metafóricamente como una exploración de la problemática de la comunicación intergeneracional fallida. La fusión de ambos niveles y estados de ánimo, donde los estallidos de risa ruidosos se alternan regularmente con escalofríos intensos, se lleva a cabo a la perfección y armoniosamente en la película.
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¡Versión checa de la invasión de viviendas! El tema y la situación de la vida son tan universales que cada uno de nosotros podemos encontrarnos en ellos en mayor o menor medida. Una película muy entretenida e igualmente desagradable.
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A Czech unconventional black-humor home invasion. The film is strange in that the genre classification of horror is a misnomer, but what the main characters experience could be called horror, because it’s something you just wouldn’t like to go through. The star is Simona Pekova, she does a very good job. There is a kind of light psychological terror that carries through the whole film and to my surprise I quite enjoyed it. Fucking squaters! The finale could have been handled better, unfortunately no satisfaction comes in the end.
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Hell is other people. And that’s all the more true in the case of your own family, because you can never escape from it, which is also due to the fact that you carry your family inside yourself forever. Jan Vejnar and Tomáš Pavlíček have made a brilliant home-invasion horror movie in which the terrifying (and suffocating) substance of familial relationships takes the place of the usual genre elements. The reactions in the cinema, filled with heavy, painful sighs, sheer terror and desperate laughter of those longing in vain for relief, provide confirmation of how the filmmakers brilliantly captured the details of psychological terror not only of the maternal variety, but also of the general variety extending one way across the chasm between the generations. Their film’s power lies in the devastatingly accurate casting, which fills out the screenplay based on internally observed and analysed feelings and their triggers, which are embedded in the screenplay with frightening precision and devastating authenticity, whether that involves lobotomising solicitude, crushing egocentricity or merely the exhausting, overly clever wisdom of the elderly. She Came at Night also excels in how it manages to acutely thematise the core of its genre, i.e. the home itself, from the perspective of its importance for the central characters, as well as with respect to how its violation impacts the characters. Of all the elements that the filmmaking duo put into their work, the most terrifying is the fact that they don’t demonise the central monster, but rather point out that each of us has the potential to become such a monster. The fact that the monster is not capable of self-reflection and, because of that, sees herself as a misunderstood victim gives She Came at Night an additional chillingly meaningful level that goes beyond the boundaries of the microcosm of one family, revealing an unsettling general truth about the core of numerous problems in society.
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