Next Door

What we have here is a simple, claustrophobic little movie that works thanks to its focus on nastiness on an intriguing surreal atmosphere that constantly intrudes on the sex-charged plot line. The film is a Scandinavian co-production, and this makes it all the more interesting as there aren't a great deal of successful horror movies hailing from this part of the world. The film is short running at just seventy two minutes, but this is definitely a good thing if you ask me as too many films bog themselves down with any number of needless subplots, whereas Next Door keeps it short and sweet, with just the central major subplot taking a central role. The plot focuses on John, a man who has just been left by his girlfriend, for slightly hazy reasons. Left alone in his apartment, he soon bumps into his neighbours - a couple of sexy women who seem all too interested in him. As things start to get more and more weird, it soon becomes apparent that not everything is as it seems...

I'd heard that Next Door was one of the nastiest films in years - and while I now think that was said by someone who hasn't spent a lot of time checking out the pleasures of cult exploitation cinema, it has to be said that Next Door isn't really for the feint of heart. The film features sex and violence, and some of the time it features together - which will no doubt please the BBFC no end when they get their filthy mits on the film. The production values are high quality, however, and while the film doesn't feature anything that would cut into a low budget - the crisp cinematography wins it an extra helping of credibility for sure. The acting is also rather good, and the central four actors fit into their respective roles nicely. Director Pål Sletaune obviously has a respect for this sort of film, and the fact that he is keen to implement as much tension and mystery as possible is definitely to the film's credit. Overall, I wouldn't go as far as to say that Next Door is to the standard of a lot of the classic exploitation films – but it's very good for a modern film, and horror fans won't want to miss it.

John, who has recently been left by his girlfriend, is lured into his next door neighbors' apartment. Inside he finds two women (who claim to be attractive, but this is debatable), a seduction and some of the most bizarre mind-bending you'll see in a film (Norwegian or otherwise).

For some reason this film is translated as "Next Door" when the word "naboer" means "neighbor", but I guess literal translations aren't the thing. I mean, the movie "Mark of the Devil" is originally in German and means something like "Witches Bleeding, Tortured To Death"... so, hey, I guess Americans can call movies whatever they want.

"An homage to Roman Polanski with nods to David Lynch," says Variety. I don't know enough about Polanski's work to really comment on that, but the Lynch connection is clear. There are many occasions in this film where it is unclear whether the main character is delusional or sane. Although, the difference is this: in a Lynch film, you are left to come up with your own theory, while here the situation is cleared up satisfactorily.

I really enjoyed this movie. It played out really slow, but in such a way that the "Reveal" was well-paced and we were only given enough hints to keep going along while getting hungrier for more (like a carrot on a stick). Any slower and it would have lost me, any faster and it would be a short film.

Personally, I found certain scenes to be highly erotic and incredibly sexy. This might be just me, since the scenes also contain excessive violence. Should violence be sexy? I don't know, but in this case I was rather taken by the presentation. Like "Jenifer" which I just watched, the film blends the disgusting with the beautiful -- with surprising results.

This will not appeal to everyone. The film is certainly "bizarre" and the movie is subtitled, which some will not enjoy. But if you like David Lynch or have a craving for something you're not likely to find in your average film, this is the film for you. (Note: the film is considered "horror" and has horror elements, but I'd sooner put it under "suspense".)

Sex, violence and psychosis - what more could you want for a down and dirty late night horror movie? Even if when you get them all together it may set off censorship bells . . .

John has split up with Ingrid, his girlfriend of two years and, as she calls to gather her stuff from his flat, we gather that the split was not entirely amicable. Soon after, John's vampish neighbours, the older, slightly dominating Anne, and the young, sexually impulsive and vulnerable Kim, persuade him into their flat. They know all about his break-up with Ingrid (they heard it through the wall) and are a bit creepy - for instance, they keep a wardrobe pushed against the door to the flat.

John is not exactly an easy-going laid-back guy. One of the girls tells him a sexually explicit story to arouse him after trapping him in the flat. When he finally starts to succumb, she initiates a violent sadomasochistic game, drawing him in with the promise of sex. After some brutal lovemaking he is shocked when he looks in the mirror and sees the amount of blood on his face. Strange coincidences start appearing and flashbacks suggest John is turned on by violence. Kim and Anne tell different versions of events and John soon feels trapped mentally as well as physically. Like all good horror movies, it ends up nastily and we breathe a sigh of relief as all is explained and we can catch the friendly night bus home, secure in the knowledge that nothing is going to jump out at us.

Next Door pushes limits by including the sex and violence together. The fairly liberal British Board of Film Censors, for instance, says it may, "intervene with portrayals of sexual violence which might, e.g. eroticise or endorse sexual assault." The fact that the sexually violence that we see is largely consensual may allow it to creep through uncut. In its home country of Norway, the film is the first to get an 18 rating in 17 years. You would be right in thinking it is not for the squeamish.

The film has a clever idea as the basis of all the goings on, but if you watch without the recommended several glasses of strong lager you may find you guess the ending all too easily. It is slightly stifled by a derivative feel - like a bad copy of David Lynch of Alfred Hitchcock - and could have benefited from some better pacing to allow the audience to catch its breathe between shocks. For all Next Door's ingeniousness, the camera-work hardly makes the most of the subject matter - although more careful framing and dramatic editing might have notched up the chances of the censors demanding cuts. On a more serious level, the film is quite a reasonable allegory on repression and erotic psychosis. One way or another, it may well earn your grudging attention - just don't try the techniques with your date.

Naboer tells the story of John, having recently been left by his girlfriend, he retreats into self imposed isolation in his somewhat claustrophobic apartment. As the story unfolds (some parts in flashback) John is approached by his alluring neighbor who seduces/drags him into an underworld of sadism and mysterious undercurrents of retribution for something John does not yet understand. Definitely unique in it's storytelling, Naboer treads on well told paths of scorned women terrorizing unsuspecting man, adding it's own twist which is sure to leave you replaying the movie in your mind.

Naboer is like a full bodied wine who's bouquet unfolds slowly in your mouth and just when you thought you had it figured, the aftertaste hits your senses and shocks you into the realization of what you have really been drinking. I have to admit that there were times, even when I had the movie figured it out, that I was concerned it would turn into a patronizing "gee see how we fooled ya!" moment. However, the director pulled it off. With a clever blend of atmosphere and suspense, the movie relies less on your powers of observation and strives more to tickle your senses and ultimately leave you with an uneasy, somewhat grotesque feeling as it winds to a close. Rather than slowly drag out the ending, he drops it right on your head and then allows the explanation to seep slowly from the screen making an all too simple answer seem unbelievably full bodied and satisfying.

The kicker to this film is the incredible 112 minute running time! Had this dragged out for another hour, no doubt this would have left a sour taste. Instead you are thoroughly engrossed in the pace and momentum and knowing that the film must race to reach it's conclusion only heightens the anticipation and elevates the sense of closure.

I would compare this film certainly to Polanski in it's sense of style and cinematography, but also to Christopher Nolan's Memento in the way that it delivers a one-two punch desert after a very satisfying meal.

The acting is superb with a stand out performance by Kristoffer Joner, making an unlikable protagonist compelling and empathetic. The rest of the cast is fantastic and quite realistic playing some very tense, scary and perverse characters.

See it, experience it, and then look forward to more of what this director has to offer.

Maddis 8/10

I saw this film yesterday, at the second Reykjavík International Film Festival, and I did not know what to expect. It is the third movie from the Norwegian director Pål Sletaune. In 1998 Variety pronounced him one of the ten most promising directors worldwide. I knew this was a psychological thriller with strong sexual undertone, and that is definitely what it is. Wow!!! I was amazed. This film is a shocker! At this one scene my wife said she almost had to vomit!!! After this scene she had to watch the film through her fingers. The performance of Kristoffer Joner (leading actor) is excellent. This is one of the best films I have seen this year. Not for softies.