Delivering an Impressive feature debut by South African director Kelsey Egan and co-writer Emma Lungiswa De Wet, Sci-fi thriller Glasshouse features an unsettling future with the world’s majority either dead from or desolated by an airborne virus called “the shred”. The survivors of the pandemic will eventually have their memories erased due to the toxin and die a miserable death.
The film centers on a family of survivors, a mother, three daughters, and two sons, (one of which is expected to return from exploration outside of the sanctuary) confined to a botanical conservatory. Outside all is baron, dead or infected. Beyond the subplots, fundamentally it is a film about survival. To survive to live and survive through tradition and legacy. This is apparent in an early scene when a trespasser is shot dead by daughter Bee (Jessica Alexander), the body is disemboweled and the remains are eaten and used as a form of compost for vegetation.
It’s apparent that this is a regular practice and self-preservation. However, what’s additionally noticeably unsettling is the ease and nonchalance in which this is done particularly by the youngest daughter Daisy (Kitty Harris) insistent that she should have made the kill. This unsettling thread is the underbelly of the film and progressively more disturbing as the film endues.
Headed by a stoic Mother (Adrienne Pearce), the children are schooled, in particular, to preserve memories through story and art and care for their infected brother Gabe (Brent Vermeulen) whose cognitive functions are deteriorating. The differing temperaments of the household are distinct, opposing dispositions that are played out against each other when Bee (Jessica Alexander), introduces an immune wounded trespasser into the home (played by Hilton Pelser).
The film is reminiscent of Clint Eastwood’s The Beguiled in places. The introduction of Hilton immediately alters the family dynamics, even instinctively from Gabe, which he uses to his advantage. He questions and teases out information that he himself evades by exploiting Bee’s obvious attraction to him and her odd insistence and justification for his stay believing that he could be the long-lost brother Luca. Each has their own agenda and motivations all of which are disturbing. Mother, believing the man to be a stranger encourages him and Bee’s relationship anticipating a pregnancy at which point the man will be ousted (despite an obvious age difference and…age). Despite Evie’s distrust of this man she too is apparently attracted to him. The crescendos come to a head because ultimately the stranger does not want to leave and at this point, he has already deviously crafted his web.
Glasshouse is unique and well crafted, despite the many reservations towards the character’s disturbing motives, logic, and decisions. The production design is a Victorian-style post-apocalypse mix that is complimented by the cinematography. The themes are definitely thought-provoking addressing issues of loss, memory, survival, adaptation, and what is most important to preserve, disregard, or of whom.
Movie Rating: 3 stars.
Movie Rating Guide
1 Star = Unwatchable
2 Stars = Cannot Recommend
3 Stars = Great for the Fans
4 Stars = A Solid Movie
5 Stars = Must Own (DVD/Stream Download)
About Author
