Pirmdzimtais

As in ROSEMARY’S BABY (1968), the significant night of passion is haunted by a third, nightmarish presence. Aik Karapetian’s film doesn’t feature Satanists or demons however: the source of insanity here is more subtle, and yet more dangerous at the same time, namely the human psyche directed by base instincts. Francis, a modern intellectual plagued by weakness, is a man unable to reproduce, an architect without a house of his own and a husband unable to protect his wife. An attempt to re-establish his dignity only serves to trigger a tipping point in the couple’s relationship.

The unease is perceptible from the beginning, as an impressive sound design and distinct composition provide a sense of the protagonist’s gradual decay, creating at the same time a stylistically minimalistic reality in which every shadow harbours a potential danger. DJ