If there was a summer horror movie that I thought was going to be about displaced families, this would have been last on my list but here we are. “Cuckoo” is a horror film that immediately captures your attention with its opening minutes, raising a slew of questions that beg to be answered. Equal parts “Phenomena” and “The Lodge”. Written and Directed by Tilman Singer, known for his 2018 debut “Luz,” the film offers a unique horror experience with a plot that is as intriguing as it is bewildering. While “Cuckoo” sets up an atmosphere thick with mystery and suspense, the answers it provides may leave you scratching your head, wondering what exactly you just watched.
The film centers around Gretchen (Hunter Schafer), a teenager reeling from the recent death of her mother. She finds herself unwillingly dragged to a Bavarian Alps resort by her father Luis (Marton Csokas), his new wife Beth (Jessica Henwick), and their mute daughter Alma (Mila Lieu). The resort, managed by the enigmatic Herr König (Dan Stevens), quickly reveals itself to be far from a peaceful retreat.
Cuckoo delves deeply into the theme of displaced families, centering on Gretchen’s struggle to find her place in a fractured and unfamiliar environment. This displacement amplifies her sense of isolation and grief, as she navigates a world that is not only geographically foreign but emotionally estranging. The film mirrors this physical and emotional dislocation through its unsettling atmosphere, where the resort becomes a microcosm of Gretchen’s fractured family dynamics. The eerie, otherworldly happenings at the resort serve as a metaphor for the deep psychological rifts within her family, highlighting the horror of being forcibly removed from one’s roots and thrust into an alien and hostile environment.
Despite its strong performances and stylish direction, “Cuckoo” falters in its execution. The film’s plot, while intriguing, often veers into the absurd without fully committing to its own logic. The lack of clear answers and the film’s refusal to delve into a more comprehensive origin story can be frustrating for viewers looking for a more cohesive narrative. For those willing to embrace the ambiguity and enjoy the ride, “Cuckoo” offers a refreshing take on horror that is both unsettling and strangely delightful.
****Spoilers for Cuckoo ahead****
From the moment Gretchen arrives, strange occurrences begin to unfold— guests vomit in the lobby, birds and dogs behave erratically, and an eerie scream echoes through the surrounding woods, disorienting those who hear it. This is where the seizures come in.
I have Epilepsy and seeing seizure representation in films is important to me, but I am also verycritical of it. That being said, I liked that Singer chose specifically seizures and auras to be the form of derealization in this film. When the creatures in Cuckoo come in close proximity with their mother, they have seizures, completely losing control of their body, their latent animal instinct kicking in. However, it was only when the creatures screamed that I realized what Tillman was doing with the distortion on screen; he was creating an aura. Seizure auras are the initial symptoms some people experience before a seizure occurs. These auras can serve as a warning sign, lasting from a few seconds to several minutes, and vary widely depending on the individual and the type of seizure. The time distortion happening while the creatures are screaming is exactly how I experience some of my auras and it was trippy to see it on screen depicted in that visual way. Singer took a lot of visual cues from nature itself and then remixed them with… eurohorror!
The camera work is a nod to the giallo films of the past, with “Cuckoo” borrowing elements from classics like Dario Argento’s “Suspiria” and “Phenomena.” The film’s aesthetic is a visual treat, thanks to the evocative camerawork by Paul Faltz, which adds to the overall sense of dread and confusion. However, while the film excels in style, its narrative can be disjointed and confusing. Singer’s script is filled with intriguing ideas, but it often leaves too many questions unanswered, making it difficult for the audience to fully grasp the story’s intent.
The performances in “Cuckoo” are a major highlight. Hunter Schafer, best known for her role in “Euphoria,” delivers a compelling portrayal of Gretchen, capturing the character’s pain and confusion with a rawness that is both heartbreaking and relatable. Schafer’s ability to convey the depths of Gretchen’s grief, especially in scenes where she leaves voicemails for her deceased mother, adds an emotional layer to the film that grounds its more fantastical elements.
Dan Stevens is equally captivating as Herr König, the resort’s creepy and charming manager. Stevens, who has proven his range in genre films like “The Guest” and “The Rental,” gives a performance that is both sinister and oddly endearing. His portrayal of König keeps the audience guessing about his true intentions, making him a fascinating character to watch.
Gretchen and her sister Alma share a profound, though tragic, bond of displacement, both uprooted from their true origins and thrust into unfamiliar, unsettling circumstances. As stated earlier, Gretchen was sent to live with her estranged father, a man she barely knew, forcing her to navigate a life with a family that felt foreign and distant. Meanwhile, Alma’s fate was even more twisted; implanted into this very same family by her “mother,” a sinister figure who abandoned her to be raised by others. Alma grew up as an outsider, haunted by the absence of true belonging. Despite being part of the same household, the sisters were separated not just by physical distance but by the deep psychological wounds of their displacement, each grappling with their own sense of isolation and loss. Their shared experience of being torn from their roots and placed into a world that neither of them truly belonged to creates a haunting parallel, binding them together in their mutual search for identity and connection amidst the shadows of their past.
“Cuckoo” is a film that will divide audiences. Its blend of eurohorror, emotional depth, and bizarre plot twists make it a unique entry in the genre. While it may not be for everyone, “Cuckoo” is worth watching for its standout performances, especially from Schafer and Stevens, and its atmospheric, visually striking direction. Just be prepared to leave the theater with more questions than answers.
“Cuckoo” is in theaters now.
STARS: 3.5/5
