Having seen her family in years, Krisha returns for Thanksgiving to a seemingly idyllic reunion that couldn’t be more fragile.
Krisha is perception through the legacy of the lens that Hitchcock left behind. Directing, editing, acting, music, and sound mixing split the screen in half and let you into Krisha’s internal world. You will omnisciently follow her into the house, “hack” her cerebral cortex and see and listen through her what lies beneath the surface. Feature debut for actor, writer, editor, and director Trey Edward Shults who successfully pitched his concept to Kickstarter and adapted his own homonymous short Krisha (2014). Ever since the wheels have been set in motion and It Comes at Night (2017) – https://kgpfilmreviews.com/2019/02/02/it-comes-at-night-2017-horror-mystery – and Waves (2019) (review to follow) have become exceptional additions to the American independent cinema.
In the first act, from the opening shot (be it past or future) the tone is set. The protracted shots and the sound mixing add extra depth to the already relatable story and characters. The second act’s gradual escalation will patiently prepare the ground for what’s coming, and that is none other than an Aronofsky-esque confrontation and act three’s denouement. Watch it and make up your own mind as to what eventually happened. You can’t choose your family, they say…
Fun fact: In both the short and feature version of Krisha, Shults gathered his family members (and a couple of actors) and shot the films in his mother’s house. Yes, most of the people you see on screen are actually related.