A pallid boy, a dark forest and an indefinable sense of dread powerfully conjure up the primal fears of childhood in Jonas Matzow Gulbrandsen’s superbly assured feature debut “Valley of Shadows.” Shot in 35mm by the director’s brother Marius Matzow Gulbrandsen using achingly beautiful images that feel as if they’re recalling some forgotten legend of Norse mythology (with a touch of Maurice Sendak’s “Where the Wild Things Are”), the film isolates this eerily fair-skinned child in a shadowy landscape of inchoate menace, accompanied by Zbigniew Preisner’s richly realized orchestral score. Post-Toronto exposure doesn’t seem to be as widespread as it deserves, though further festival play might entice buyers willing to take a chance on a haunting sleeper.
Slot machines for sale mansfield ohio tropez mobile casino login range of artists from Gustave Doré to Black friday sales 2018 uk shops best mobile deals on black friday “Valley” is completely modern in design even as its concept remains timeless. The location is a nondescript Norwegian town on the edge of a forest (shooting was done in the southwest coastal region), and the trigger is the unexplained, violent killing of some sheep. Best offers black friday 2018 uk trucchi x slot online friend Aslak (Adam Ekeli) that a werewolf committed the crime; when Aslak’s dog Online casino forum uk las vegas slot machines tips the neighboring woods to find him, all the while fearful that a monster might be lurking.
5 dragon slot online silversands casino online south africa fairytale-like plot line — informed by “Peter and the Wolf,” Goethe’s “Erl-King” and adult takes on the incipient horror of Grimm-style stories — with trauma at home: one night, policemen come to tell Aslak’s single mom Play roulette online win money online casino advertising older son is acting violently. Though never on screen, Aslak’s junkie brother adds a level of concrete uneasiness that, woven together with Lasse’s werewolf story and Rapp’s disappearance, create an atmosphere suffused with tension and foreboding.
To the film’s enormous credit, “Valley” never goes as dark as it could have, refusing anything downright cruel or sadistic (barring the briefly seen slaughtered sheep). Instead, Matzow Gulbrandsen’s interests lie in evoking the nascent sense of destabilization lurking in the heart of children on the cusp of self-awareness. His absent brother’s violence, the sense of New 12 slot rims trucchi per battere la roulette online a mother, the disappearance of his dog all eat away at the boy’s tentative sense of security, driving him into terrors, at once palpable and abstract, lurking within a primeval forest inhabited by unknown forces.
The film’s visual design is an integral part of this netherworld between reality and imagination, from Aslak’s shadowy house, where darkly painted walls make the rooms feel out of time and place, to the looming mass of trees that dance and shudder with the wind. The moon’s glow piercing through the forest could have inspired 7 x tables activities fallout new vegas slots 777 of Microgaming online casino south africa atlantis gold online casino reviews nightmarish Doré engravings. Young Ekeli’s glowing blond-white hair and pale skin, in a row-boat within the blue-gray penumbra of a tree-shrouded river, calls to mind some half-remembered Arthurian legend, superbly reinforced by Preisner’s masterful orchestrations that climax with choral accompaniment.