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A Danish/English horror movie that delves into several fears: an overbearing partner's parent, a potential dark history of the partner, and evil spirits known as dybbuks. Although the writer and director, Gabriel Bier Gisalson, brings emotional depth to the story in his directorial debut, the film doesn't quite deliver and becomes drawn out by the end.

The relationship between Danish actress Maja (Josephine Park) and London academic Leah (Ellie Kendrick) starts out strong, with charming chemistry between the two women. However, things take a turn when Leah has a seizure and her pushy mother, Chana (Sofie Gråbøl), becomes involved in their relationship. Chana's strange behavior and interest in Jewish iconography creates a sense of unease that slowly builds as the story progresses.

The film attempts to set its horror within Jewish mythology and Ultra-Orthodox life, but this creates an exposition overload that distances the viewer. The strongest aspect of the film is its rumination on the universal worries of a relationship, particularly the fear of a partner changing who they are and leaving heartbreak. The acting, particularly by Sofie Gråbøl, adds to the disturbing dynamic of the story. Although "Attachment" has its moments, it becomes slow and too drawn out to be a fully successful horror movie.

Attachment is a Queer horror film steeped in Jewish folklore written and directed by Gabriel Bier GislasonIt in his feature-length film debut. At the center of the film's narrative is a love-at-first-sight romance between a Danish former actress and a Jewish academic from London. It boasts a rather endearing meet-cute between its leads in a public library when the two quite literally bump into each other dropping their books. The two strike up a whirlwind courtship, but unbeknownst to them, something sinister lurks beneath the surface. The film stars Josephine Park, Ellie Kendrick, Sofie Gråbøl, and David Dencik.

When Leah (Kendrick) suffers a terrifying and mysterious seizure, breaking her leg with a horrifying snap, Maja (Park) fears their relationship may end before it truly begins. She decides to accompany Leah back to her home-a multi-story flat in London she shares with her Mother-in the Hasidic neighborhood of Stamford Hill. There, she meets Leah's mother, Chana (Gråbøl), an unpleasant, domineering, and secretive woman. Chana resists Maja's attempts to bond with and get to know her. When Maja begins to notice strange seemingly supernatural occurrences in the apartments, she begins to suspect that Chana is conjuring something to keep Leah's love and devotion for herself. The superstitions and traditions of Orthodox Judaism play a role in the film's narrative, bringing authenticity to its setting and keeping us intrigued for the most part in its quiet moments.

Kendrick and Park deliver engaging and believable performances as a couple experiencing the familiar "meet-the-parents" friction, but the leads lack chemistry, making the romance itself unconvincing. While I love folk horror as much as the next person, the supernatural elements of the film are so subtle, that they are easily overlooked until the film's finale. The ending ties everything into a proverbial and somewhat clichéd bow that'll leave some viewers dissatisfied. It is a very slow burn that suffers ever so slightly from its pacing but it still manages to deliver an unexpected payoff.

While it isn't overtly scary and it takes a while for the story to get going, there's a great red herring and plenty of little supernatural chills. In addition to Jewish folklore stories that I have a keen interest in (naming them would give too much away), Attachment explores the deep bonds of love, superstition, and the complex nature of mother-daughter relationships. It's an allegory for codependence and the dangers of imbalanced relationships.

This film is described as horror, and it could be called that, amongst other things.

What is happening here? Well, there's a possession, but this surely is no The Exorcist! It's a Danish film, and we really haven't got a great history in either horror or scary films. But is this really a horror film, I would say partly. It is as someone is trying to make it into more than that. But what? It's really hard to say, for me that is. I try to find what this is all about. The reason is, that Danish films very seldom just try to be, for instance, funny, entertaining or just plain scary (or anything really). There's gotta be more than what's seems obvious. So whay is it this time? Is it an attack at religion, homosexuality, jews or?

Perhaps it's just me searching for something that is not supposed to be there, perhaps it's just plain horror? If so, it's not really that scary. It has the very annoying ending that most horror film has, you really can't tell if the whole thing really have ended.

There's not anything to say against the actors, they do a very good job, especially Park and Kendrick.

Truth be told I'm really not a horror fan, so if you are, you probably have to see for yourself.

Attachment offers a refreshing angle in the horror genre by combining queer romance with Jewish folklore, something rarely seen onscreen. Director Gabriel Bier Gislason crafts a story that's as much about cultural identity and maternal control as it is about demonic possession.

Josephine Park and Ellie Kendrick have genuine chemistry, and their relationship feels warm and lived-in, grounding the film emotionally. The Copenhagen-to-London shift brings an intriguing change in tone, with Sofie Gråbøl's portrayal of the overbearing mother adding an undercurrent of unease that grows steadily.

However, while the film handles its characters with care, the horror elements feel subdued. The mythology is fascinating but not fully explored, and the tension never quite peaks. It's more eerie than terrifying, and the pacing falters in the final act.

Final verdict: Attachment is heartfelt and thematically rich, with strong performances and cultural nuance. But as a horror film, it plays things a little too safe-leaving it more touching than terrifying. A modest success with a unique voice.

This slow-burn possession horror film is a bit too slow in my opinion. I was completely engaged in the story and the characters up to a certain point, and I can appreciate that the love story is between two 30 something lesbians suffering typical Millennial problems of aimlessness or living with one's parents - there's a lot going on here which seems to be completely metaphorical.

Chana the mother character was amazing, the actress deserves some kind of award for how smoothly she pulled off her role in secrecy.

But ultimately by the last twenty minutes or so I really wanted to fast forward through the predictable climax.

Good lord that poor cat lady.