The Lodge
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The Lodge

The Lodge in their last two films as a creative tandem, Severin Fiala and Veronika Franz have revealed themselves as The Lodge a couple of filmmakers obsessed with showing us the darker side of the family, placing special emphasis on dysfunctional relationships between mothers and children. “Goodnight Mommy”, released six years ago, was a horror film clearly located in the auteur cinema and close to the Michael Haneke genre, where the mother figure almost literally became a monster before the disturbed and psychotic look of two children who doubted the real identity of their mother. That film, which dared to treat one of the greatest traumas that a child can suffer, ended up being more a brainstorming of ideas than a round work. Now, it already intuited what was to come in the much more satisfactory “The Lodge”, released this week in Spain on digital platforms with the dreadful title of “The sinister cabin.

The first element to highlight about “The Lodge” is that, in its first American production, Severin Fiala and Veronika Franz have not reduced one iota of the emotional cruelty that was present in their previous film and that desire to break taboos (something, the latter , which any horror movie should aspire to, whether commercial or copyright). The story they present now, after a devastating prologue that we will not reveal here (it is worth seeing it as a virgin), is very similar to that of “Goodnight Mommy”: in this case a stepmother (an excellent Riley Keough) and her two stepchildren who are forced to live without the presence of the biological father in an isolated house surrounded by snow. Once there, a perverse psychological game begins between the two parties that will be poisoned and twisted until reaching one of the most daring outcomes in recent horror cinema.