Written by: Valkyrie Kerry and Brett Dyer (Immortalis)
Father of Flies sits on the cusp of bleak folklore and supernatural horror, the genre designation is subject to the audience’s interpretation until the very end. It is an atmospheric film set in winter’s isolation. Richard (Nicholas Tucci) has moved his girlfriend into the family home, a log cabin set in the wilderness. His children, Donna (Page Ruth) and Michael (Keaton Tetlow) are hostile to their father’s new girlfriend, Coral (Camilla Rutherford). Coral is a frightening apparition to the children, particularly as she regularly adorns an anti-aging mask that dehumanises her. Donna and Michael long for the return of their mother, Linda (Sandra Andreis) who is turned away from the home when she attempts to visit. Richard alleges that she is mentally unstable throughout, in response to her exile Linda uses exhaust fumes to end her suffering.
Thereafter Donna increases her hostility towards Coral, and Michael finds himself haunted by an inexplicable force, only his bizarre neighbor, Mrs Start (Colleen Heidermann) offers sympathy over his mother’s condition. Michael, fearful of the supernatural entity within the house, attempts to phone his mother for assistance. Coral, carrying Richard’s child, also suffers the wrath of the spirit within and appears to grow increasingly unfriendly towards Michael. As the manifestation becomes more imposing, and Donna’s anger towards Coral more resentful, Richard leaves the family for a work assignment. On his departure, the boiling pot of emotions, paranoia and the haunting heighten until a devastating crescendo of hidden truths and demonic horrors spill into a garish nightmare.
Father of Flies is an intensely atmospheric film, it is an indictment of paternal failings and a cruel sentence imposed on adultery. Camilla Rutherford offers a majestic performance as the wicked stepmother forcing her way into the family with the assumed desire to usurp the children from their home. The mask exacerbates her apparent fake masquerade, as does her final outfit, the mother’s sweeping, silken, nightgown. She dances before the camera like a graceful automaton, yet all is not as it seems. The narrative conceals many layers, and one of this film’s most astounding accomplishments is that the narrative moves along without revealing any relevant insights into the characters. That is not to say that characterisation is not in play, nor that it is ineffective, but that it is executed with such craft that the climax turns the entirety of the tale on its head.
Michael endures much from his neglectful father who seems to care little about the monster under the bed fears, even though he witnesses it first-hand. Coral intercepts Michael’s phone calls to his mother, chases him throughout the house and locks him in his room, until Linda comes to rescue her son. Michael’s timidity and fears are performed meticulously, as is the role of the neighbor, the eerie Mrs Start, a character essential to the re-telling of the story after the major twist is revealed.
The isolation and cold atmosphere are reflected in the character’s inability to bond with or relate to one another. Donna and Coral’s silver streaks emanate the snow; indeed, Coral’s black undertones give her an almost Cruella DeVille appearance complimenting the folktale feel of the film. The film itself is only 80 minutes long, but every minute counts. Father of Flies will appeal to fans of The Others, The Sixth Sense and The Babadook.