Reviewed on February 15th at the 2024 Berlin International Film Festival – Berlinale Special. 102 Mins
Cast: Hunter Schafer, Lola Petticrew, Jan Bluthardt, Marton Csokas, Jessica Henwick, Dan Stevens, Mila Lieu, Greta Fernández
Genre: Teen Horror, Horror, Mystery, Thriller
Director: Tilman Singer
In Irish Cinemas: 23rd August 2024
Writer and director Tilman Singer builds on his reputation for experimental, high-concept horror with his second feature, “Cuckoo”. This ambitious film once again demonstrates Singer’s unique vision, as he delves into complex themes such as grief, reproduction, and societal expectations of gender, all within the framework of a playful yet unsettling horror narrative. “Cuckoo” is unapologetically unconventional, with a deliberately loose approach to plot and details that may divide audiences. However, for those who appreciate the strange and unconventional in cinema, Singer’s latest work offers plenty to admire and explore.
The film “Cuckoo” begins with a mysterious cold open that only makes sense later in the story. We are then introduced to seventeen-year-old Gretchen, played by Hunter Schafer, a brooding teenager visibly burdened by her emotions. Her father, Luis (Marton Csókás), along with her stepmother Beth (Jessica Henwick) and her silent seven-year-old stepsister Alma (Mila Lieu), forcefully take Gretchen to a remote resort in the Bavarian Alps—the very place where Alma was conceived. Gretchen, still deeply mourning the recent death of her mother, holds onto her memory by repeatedly calling their old phone number and leaving messages, trying to preserve the connection she so desperately misses.
She feels like an outsider in her father’s new family, struggling to find her place amid their lives. On top of that, the unsettling presence of Mr. König (Dan Stevens), the eerie German resort owner, only adds to her discomfort. Although he offers her a job at the front desk, his unsettling behavior makes her increasingly uneasy. Gretchen is so disturbed by Mr. König that she dismisses his urgent warnings to return home before nightfall. This decision leads to a series of bizarre and terrifying encounters with a mysterious woman who stalks her, shrieking in the shadows.
Singer focuses less on traditional plotting and more on creating a tense atmosphere, delivering intense horror moments, and delving into his protagonist’s turbulent emotional state. He intricately weaves Gretchen’s inner turmoil with the eerie events unfolding at the resort, crafting a story where her psychological journey mirrors the external horrors she faces. Initially, Schafer portrays Gretchen as a stereotypical angsty teen, but it quickly becomes evident that her rebellious demeanor conceals deep-seated pain, exacerbated by her sense of alienation. Gretchen’s overwhelming desire to return to the US is continuously thwarted by Singer, who subjects her to relentless physical and psychological trauma. This ordeal pushes her into a desperate fight for survival against increasingly impossible odds. As the terrifying encounters intensify and the strange, disorienting sounds become more frequent, Gretchen’s isolation deepens, with those around her mistaking her desperate actions as mere teenage rebellion.
The performances are what truly elevate “Cuckoo”. Singer prioritizes the core themes and overarching narrative, ruthlessly trimming away anything he considers unnecessary, which may leave plot-focused viewers feeling frustrated. As a result, supporting characters often fall by the wayside when the story takes a chaotic turn, and some plot points are bypassed altogether to maintain momentum. However, Hunter Schafer’s powerful and nuanced performance anchors the film. She expertly balances Singer’s offbeat humor with moments of intense emotion, making “Cuckoo” far more engaging and accessible despite its unconventional narrative approach.
Then there’s the menacing Mr. König, brought to life by Dan Stevens, who excels when diving into eccentric character roles. Stevens fully embraces the quirks of Mr. König, a character who initially appears disarmingly charming but gradually reveals his true, sinister nature. As the story progresses, Stevens unleashes König’s darker side with exhilarating intensity, making him a compelling and unpredictable antagonist. While Mr. König may be the film’s primary villain, “Cuckoo” also introduces an actual bizarre creature, hinted at in the film’s title. However, don’t expect Singer to reveal much about this creature early on; instead, he strategically withholds the details, allowing the film’s weirdness to unravel gradually. What I can hint at, though, is that vaginal discharge plays a disturbingly eerie role in the story, used in a way that’s sure to make your skin crawl.
The film showcases inventive worldbuilding that distinguishes this high-concept horror movie, coupled with a handful of intense cat-and-mouse scenes that generate real tension. However, Singer infuses the narrative with a playful sense of humor, which nudges “Cuckoo” further into the territory of eccentric cinema. The film is refreshingly unconventional and unpredictable in every aspect, culminating in a wild, delightfully absurd finale that makes it easy to overlook any plot threads left unresolved. The film’s charm is further elevated by the strong performances of Schafer and Stevens, who make the experience all the more captivating.
Overall: 6/10
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