Inclusive terror and gothic fervor


Invitation It’s one of those horror concoctions that drink from the genre’s recent successes, unashamedly opportunistic in its morals (diverse, feminist, egalitarian), but due to lack of ambition (or budget) end up damned. Great. Jessica M. Thompson’s film has a limited set of cards at play, but it plays well, well-told, even, and features such fine talent as Nathalie Emmanuel (the unfortunate Missandei of Game of Thrones).

Emmanuelle is Evie, an artist struggling rather poorly as a catering worker who receives a cryptic request from a dating app to attend the British wedding of her hitherto unknown British aristocratic family. Needless to say, Thompson’s film (which was originally going to be produced by Sam Raimi and ended up in the hands of the golden Screen Gems team) ties the pilot devil seedand that the family that surrounds Evie will not be what they seem.

Invitation (nothing to do with Karyn Kusama’s wonderful 2015 film) picks up all the protocols of inclusivity of the current style book, but adds more interesting stuff about the rootless American Evie and the antiquated British protocol of her British relatives. The figure of catering workers as executioners is used judiciously by director Thompson, without the need for further comment or emphasis, although this shows one of the film’s shortcomings, which prefers to choose fears through Instagram filters rather than create an actual physical reality. discomfort (or, simply, to exploit their sudden departures from their mother).

With that out of the way, a nice (typically) gothic and romantic European setting somewhat underused in this overtly commercial aspect of the B-series horror, and somewhat also Jordan Peele’s intelligent horror shake-up let me out or unsuccessful The wedding nightendure the invention for ninety modest minutes, which exude a discreet dose of romance that serves as a parodic commentary on the fervor generated by the saga at the time. Twilight.



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