Deep in the Wood Conveys Internal and Supernatural Demons
Deep in the Wood Film Details
In fondo al bosco
June 13th, 2017,
September 27th, 2017
MPAA Rating: N/A
Winter 2010. Dolomites. Tommaso Conci, a 4 year old child, disappears during a festival where people disguised as devils, the Krampus, terrorize the village with whips and chains. Five years later, a child was found nameless and without documents. DNA matches: he is Tommi. Manuel, the father, can finally embrace his son. The mother, Linda, however, can not adapt to the new situation. A suspect digs inside her: what if that child is not really her son?
Children and Horror films make for a compelling combination. Supernatural afflicted children or youth is a frequent theme. Its varying interpretation is available for Horror filmmakers to mold. Innocence as a catalytic agent of evils, what is it about this idea that appeals to audiences?
Deep in the Wood is the most recent film addressing the evil possess child as the offending force. The film travels on familiar tropes yet engages audiences with a character driven narrative.
Director and co-writer Stefano Lodovichi made each scene come alive. From commencement, Deep in the Wood awards stunning visuals. Roberto Di Tanna‘s Intricate and rhythmic editing complimented Lodovichi’s imaginative camera application. All scenes had an account to explain and strengthened narration.
Deep in the Wood had an ensemble of seasoned actors. Their crafted abilities intensify the production tenfold. Actor Filippo Nigro‘s role concentrates a man torn between loyalty and deception. The character has grounded layers set in sentimental composition. This is a character resonates with audiences. From the mourning father to the protective parent this is a human character.
Actress Camilla Filippi also dominates the screen with her portrayal. Filippi’s performance is best characterized as the caring mother that never lost faith. Yet, it is this parental impulse that motivates her to overrule opinion toward her son. This internal maternal conflict is a design seldom used in Horror. Filippi’s role sets as a convincing exposition of the mother figure.
Yet, from the roster of polished actors, it is child actor Teo Achille Caprio that impresses. Caprio’s dialogue has limited delivery yet his deeds speak louder. His character stands well against similar presented roles. One outstanding trait Caprio brings in his performance correctly combines moral and malignant natures. Audiences gain understanding on the instantaneous transmutation based on the Caprio’s expressions and body expression.
Deep in the Wood does not tread on new conceptions. Yet, Lodovichi’s composition is defining in its individual fashion. The writing team provided an in-depth narrative. Emphasis centered on drawing out internal and external frictions. Also, the story delivers strong authority from commencement. Various subplots mesh together into a logical form.
While Horror tones are displayed, the fear factor remains nominal. From a film of this caliber, it’s expected. Deep in the Wood presents a sense of the unexpected. This characterization applies to the solid structure of the script. The film moves in one direction and midway through Act I transverses into an altered course. Viewers remain bound as the progress of the events dictate emotions. Deep in the Wood gives a fresh translation of the Thriller genre.
Deep in the Wood did not exhibit crucial error to warrant objection.
Deep in the Wood produces a fascinating spectacle of reality. The cast of characters feels individual with their fascinating raw passion. Supporting these roles is an assemblage of superior actors. Writers; Aguilar, Lodovichi, and Orsini introduced a modern and different proposal to evil child aesthetic. Using mythological themes was fitting and integrated well with the secret demons each character possessed.
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