Family Dinner

Family Dinner is the feature debut of writer and director Peter Hengl, who had only produced short films previously. However, the bold red title font emblazoned across the opening credits, hint at the pedigree of the filmmaker as it reminds the viewer that he is a past student under the tutelage of the legendary Michael Heneke (Funny Games, Hidden) at the Vienna Film Academy. Hengl wears this influence on his sleeve as he crafts a morbid, murky, and brooding film that would garner praise from his former professor.

An overweight teenager (Nina Katlein) spends the Easter holidays at her famous nutritionist aunt's farm in the hope of getting help to lose weight, but soon after her arrival, she begins to suspect that something is very wrong and that her family should not be trusted.

Experienced horror fans will have no problem predicting where Family Dinner will go at its conclusion, but the journey will be mesmerising and harrowing. The German-language film is very deliberately paced in the rich history of elevated European cinema, but each scene crackles with intent and intensity. The viewer is left unnerved and unbalanced with each new interaction between characters who clearly have hidden motives.

Nina Katlein is a revelation as the determined Simi. The character sets her mind to something and fully commits to it and the actor beautifully manages to capture the duelling parts of Simi's personality as she struggles to make sense of the escalating tensions in the home of her aunt. Katlein effortlessly shifts between determination, compassion, fear, and bravery, as she crafts a fully-fledged three-dimensional person with specific goals and uncertain boundaries. She grapples with her unhealthy habits, but remains focused on body positivity and staying true to herself throughout the attempt to lose excess weight.

Pia Hierzegger is equally superb as the jittery and manipulative Aunt Claudia whose dialogue is layered with venom and disdain. Her performance is grotesque, unhinged and hypnotic, with each scene building momentum towards a brutal outcome which our protagonist is oblivious to.

The sound design for Family Dinner is a character in its own right as it gets under the viewer's skin. Creepy, but fun sound-effects make connections between the food being consumed, the physical changes the characters undergo and the continuous build-up of tension. The audience becomes a complicit voyeur, as Hengl immerses them in a strained and weird, but relatable, family dynamic, while the pacing keeps us, and Simi, mystified by the unsettling and perplexing events. The foreshadowing wonderfully pays off as a reward for anyone paying close attention to the unfolding madness.

Family Dinner is a deviously delicious recipe of psychological manipulation and macabre horror that combines effectively into a feast of a meal and gives us a cinematic first; a horror film set during the Easter period. Move over Halloween and Friday the 13th. Give way Killer Santa because the Easter Bunny has a malicious and creepy tale to tell.

At the end of the Lenten fast, a plump girl visits her aunt, an expert cook, at her remote farmhouse, where things seem a little ... off.

Grimm's fairy-tale meets mild body-horror. The narrative is kinda plain - if you substitute a wicked witch in a house in the forest, you're most of the way there. But the body-horror aspect is dignified by associations with the sacrifice of Jesus and the notion of cannibalism as a rite of rebirth, plus an unfussy portrait of animal death. Not really my genre, but in this form more 'tasteful' than the lurid stuff that's been a staple of French and Canadian films for decades.

The pace is sedate, the performances reserved, and the music is barely perceptible, just nudging us into a sense of dread. At times the intimacy of the whispered voices is intense, a nice effect. But the standout for me is the character of Simi, who has an intriguing mix of impassive innocence and savage resilience.

This is an Austrian production, and I have to say their Slavic neighbours do this kind of macabre with a greater sense of wonder and mystery - and humour. And a final oddity is that the German word Schei*e is translated into a more forceful word in English.

Overall: Simple story that just about fills its dress.

P.s. I do practice fasting and low-carb, and it's clear the writer didn't think to do his research.

I would call this a great breath of fresh air if the movie's inherent atmosphere wasn't so suffocating.

I am puzzled by some of the really negative user reviews. Is it a Hollywood movie? Is it an actual horror movie? No to both. It is a very European movie. Not flashy, no special effects, just a gently paced, mounting sense of dread and discomfort. The cold set and lighting contribute to a sense of impending tragedy.

Overweight Simi is cleverly made to look and feel like an outsider among the painfully thin Aunt Claudia and her partner Steffan. Aunt Claudia is a famous nutritionist whom Simi hope will help lose weight. It soon appears that Claudia's techniques have become a little extreme as indeed has her mental health.

Gently paced but ultimately very tense and frightening with really strong and. Nuanced central performances.

Give it a shot.

Who cares what genre it is; it's a combination of all three, and while you've seen films with similar plot lines like this before, you know what to expect and even how it might turn out, but it's still worth the watch to get there.

This is a slow burn film, with no wasted scenes or padding, with believable and sympathetic actors, and you don't really have to suspend disbelief because the girl and the boy act like real kids would act around parents and adults. True, the girl is a bit smarter at the end than you may have thought she should be, but since it's only one small contrivance, it was acceptable as it was needed to get to a satisfying conclusion.

Peter Hengl is one sick puppy, and I mean that as a compliment. He is both the writer and director of this wicked German film.

A teenage girl seeking to lose a few pounds is left with her aunt by her mother six days prior to Easter Sunday but do not expect a big bunny rabbit with colored eggs for the Holiday celebration.

Instead, the best selling author of diet books takes the young girl under her supervision with a crash diet program of no food for the six days leading up to a wonderful dinner with the aunt, her young son and her live-in boyfriend.

The diet coach is a strange woman filled with what seems to be a new age kind of religion. Earth mom is not playing with a full deck.

The ending was not a surprise to me but I still recommend Family Dinner.