You Won't Be Alone

Normal movie goers will hate this for its slow pace, subtitles, lack of dialogue and its 'show don't tell' style of plot exposition. Fans of cinematic art will love it for the same reasons.

It wouldn't surprise me if this gets remade in the an English language version as the plot is unique and scary enough.

The director is obviously inspired by Terence Malick movies and the folk horror element is drawn from movies like Robert Eggers' The Witch.

I found this to be enthralling, surprising and one of the most inventive movies I've seen this year.

Dark, slow, disturbing, poetic, beautifully shot, tender, makes you ponder your existence, and one of the best portrayals of a witch I have seen.

Watched at Cinema 21.

If you like Terrence Malick movies, you will love this movie.

It's about witchcraft and horror and outcast monsters. But there is so much more explored than just horror and scary situations. This movie will make you look at being human and life in general with new eyes, from a perspective of innocence and appreciation. There is so much beauty explored, from the beauty of basic human relationships to the beauty of nature and the beauty of the dark, scary and unknown aspects of reality.

A lovely movie, well acted with a meaningful and deeply philosophical story. Give it a try.

"Life is what we make it, always has been, always will be" - Grandma Moses

I'm sure the people who tuned in anticipating a medieval feature on witches were shocked to their very conscience. The first act might resonate with familiar feelings that of a horror-centric set-up. The second act on the other hand sponsored a sudden change of course and heart in the core direction as well as in its style of narrative.

To summarize, "You Won't Be Alone" is not your ordinary tale revolving around some den full of witches nor does it have to do anything with their origination, those characteristics are merely used as backdrops to a much larger objective at play. To put it mildly, the story speaks of possibilities, of choices, all from a perspective of a young woman who's just been given the invaluable opportunity to look into her surroundings and her life itself.

With her innocent, compassionate gazes, we can see the world, the people, and all that is around her through a much simpler lens. Reflecting the very foundation of life itself that is fraught with pain, suffering (here it is symbolized through the toxic patriarchy), and everyday hardships, which are fairly synonymous for all human beings, irrespective of their genders or their sexual identities.

Yet, amidst all these inconveniences, there are moments worth cherishing, and there is love worth fighting for, even after so many nasty experiences, we are still left with the people whom we can trust, whom we can spend our whole life with, in those particular facets lies the true significance of living, the unreal feeling of existing, the incredible feeling of being Alive.

And I strongly believe, that's what the film wants to convey. We often make things too complicated for ourselves, we more often than not make things much more difficult for us as well as for our loved ones. At those peak moments of disquietude, and hopelessness, we might wanna take a look from a different perspective, we might wanna bring back our inner child, which is long forbidden. Perhaps, that childlike innocence, that very naivety would help us in those dire circumstances, maybe that is what we need, that is what our situations call for.

Greetings again from the darkness. Perhaps you are a normal movie lover and have never wondered what it might be like if director Terrence Malick delved into the horror genre. Well, the first feature film from writer-director Goran Stolevski gives every indication that he has spent entirely too much time with such thoughts. This arthouse folk horror film will likely frustrate many with its unconventional approach, odd narrative, and spiritual narration that hardly contributes to the characters in the story.

Opening in a remote mountain village in 19th century Macedonia, we witness a 'Wolf-eatress" witch named 'Old Maid Maria' (Anamarie Marinca; 4 MONTHS, 3 WEEKS AND 2 DAYS, 2007) visiting a mother (Kamka Tocinovski) and her newborn baby. It turns out Maria has a taste for newborn blood, but the mother negotiates a deal which would allow her to raise her daughter Nevena until Maria takes her in teen years. The child is then hidden away in a cave, isolated for years and mostly feral when Maria returns. Teenage Nevena (Sara Klimoska) knows nothing of the outside world and sets out on her journey of life lessons, guided by Maria, a witch who may or may not have her best interests at heart.

Shape-shifting, or assuming the form of their victims is a trait that Maria passes along to her protégé. This process is quick and brutal, and we see it played out along the way as Nevena takes over a local mother (Noomi Rapace), so as to get a taste of normalcy, a wolf (just because?), a man (Carlota Cota) so as to absorb power and experience sex, and a young woman (Alice Englert) in order to give birth to a child. This shape-shifting is referred in the movie as "dressed in corpse", which is a spot-on description. The Wolf-eatress follows closely, but does give her new daughter the space to explore humans, though Maria does not share the appeal.

There are some excellent scenes in the film, but it leaves the impression of trying too hard to come across as Malick doing horror. Still, with some similarities to Robert Eggers' horror gem, THE WITCH (2015), there is enough atmosphere of terror to keep us engaged and working through the often-confounding narration. As a bonus, it leaves us with the perfect final line, "And yet ..." Opening in theaters on April 1, 2022.