Family Dinner

No pun intended - someone who supposedly is good at diets, should be able to help a family member out, right? Well you would think that, but on the other hand, it seems like she has issues to keep her own son in check, so maybe she is not the best person to get advice from.

Now overall I assume most will know (predict) where the movie is going. You will not get bonus points (or brownies for that matter), if you guess that right. Even the weirdly placed wooden ritual thing is very on the nose. Still, this is a first time filmmaker (feature length that is) and maybe you are able to cut him some slack for that.

The performances are good, though quite understated. As intended I assume. There is insanity, but there could be more. There is some logic to it all, but there could be way better decision making. From all involved ... but it is what it is. Either go with the flow or leave it be.

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.

One will need subtitles, as the film is in German. Aunt Claudia and Uncle Stefan and son Philipp live on an isolated farm in the countryside. Simi, a bit overweight is to visit and arrives the Tuesday before Easter, thinking she would stay through Easter. But she is informed that Easter is a very special and private time, and they didn't expect her to stay that long. Claudia is a nutrition expert, and puts Simi on a diet. Diet is the wrong term, as it is to be NO food until Easter, and she is then invited to stay longer. She has to share the room with Filipp, and it is clear he doesn't like her. Claudia says he has a personality disorder and often runs away. It is slow paced, very moody, and there are many undercurrents to the story. As Easter approaches, Stefan says he doesn't agree with the entire ritual, but it is very important to Claudia, so Simi should just go along with it. I can't really consider it a horror movie in the true sense, as there are no jump scares or other things associated with horror movies. It is decent movie, well acted but not really special.

The film was advertised as a domestic horror film and the mood and the location was very well met. In terms of action, the whole film takes place on a farm in the countryside (Lower Austria), the actors are all very convincing and were well chosen. Pia Hierzegger is of course fantastic as the aunt, very believable.

The label horror film is too strong for me, although it certainly fits into the genre, but measured against today's usual horror films, the film is already rather harmless, more psychological thriller. Also, the film offers little surprising.

The story: overweight teenager Simi visits aunt Claudia, a nutrition expert, in the countryside (with hopes to be helped with dieting), with (newly married) uncle Stefan and cousin Fillip (from the first marriage of the aunt). Simi feels uncomfortable from the beginning, the cousin a creep, the aunt strict, the uncle too nice?

I felt they got inspired by films like "Get Out," "The Wicker Man," as well as some Hammer films from the sixties. Without giving more away, you definitely guess what the whole thing is leading up to in the course of the film. That's what I meant by unsurprising. I was missing a twist that would change your view of the story and question your perception, so to speak, but that twist doesn't come. Conclusion: well done, but not top notch.

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.