Review |  Viveiro – Allegorical terror with brushstrokes by Kafka and Magritte debuts on Amazon Prime Video

show fans The Twilight Zone (1959-1964), the Irish Lorcan Finnegan and Garret Shanley conceived Nursery (Vivarium) to disconnect us from reality and transport us straight to the purgatory of a life very similar to ours, but without the privilege of free will. launched in Cannes Film Festival 2019 and made available on VOD in March, the work starring Jesse Eisenberg and Imogen Poots is an allegory about the illusions of family happiness and takes us back to the romance The process (1925), from Franz Kafka.

Through the opening scene, in which a hungry bird knocks its peers out of the nest in an energetic and cruel way, the production already communicates to the viewer its objective of leaving them in an uncomfortable environment. As well as iconic character Joseph K., trapped in an endless process for an unspecific crime, the Gemma couple (poots) and Tom (Eisenberg) does not know the reasons for his misfortune.

The essence of the narrative, however, is not to explain them, but to confront us with the experience of each one of them on this journey. The couple arrive at a real estate agency and are greeted by agent Martin (Jonathan Arisa), bearer of a horrifying smile and devoid of social treatment, that is, we could compare him to an amazing Sheldon Cooper, from The Big Bang Theory. Immediately, the couple is led to visit the residential space Yonder and they are presented with a repeating infinity of identical green houses with playpen on the porch.

Right from the start, the home decor is strange and they react with aversion and derision. To complete the unusual atmosphere, Martin disappears without a trace and the neighborhood remains completely silent. Without hesitating, they both get into the car towards the way back to the city. However, after driving for hours and always finding the same houses, the gas runs out and the exit becomes unattainable.

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From that moment on, it is necessary to look at the work with a hint of distrust and curiosity, equivalent to that of the protagonists. After a few escape attempts, they are given a box of groceries and later a baby, which reveals them to be someone’s prisoners or something incomprehensible. as in the novel of Kafka, finnegan and Shanley leads us to see beyond the plane of images and make an effort to interpret the symbology.

With a minimalist composition, the narrative force is sustained through the expressiveness of Imogen Poots, being this one of the most eminent works of the actress. She works like a pendulum between keeping herself human or letting herself be seduced by madness, especially in scenes like her supposed son (Senan Jennings). In this situation, the three sitting at the breakfast table perverts the photographic playfulness of the family constitution, since the boy is a horrifying amplification of a child’s development through parental habits, in this case, the prisoners around him.

Following the same path as the surrealism of the works of Charlie Kaufman (I want to be John Malkovich [1999], Synecdoche New York [2018], anomalies [2015]), Nursery throws a couple into a nightmare of service to an invisible dictator. In a more primal instance, it is possible to contemplate that this is exactly the life that both were looking for when they entered that residence. The elements of reality with remnants of fantasy, or rather surrealist compositions, are beautiful to our eyes and intrigue the logic present in everyday life, just like a painting by the Belgian artist Rene Magritte.

With excellent artistic direction, Nursery aesthetics stand out over a simple message, but open to interpretation: whether it’s the nightmare of suburban life for Generation Y, or raising children. In fact, the elements brushed by Lorcan Finnegan terrify and entertain, keeping the viewer captured by the fascination of the allegorical purgatory, in addition to playing with the questions presented in It was just a dream (2008) and American Beauty (1999).

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