dir. Frida Kempff
What would you do if you heard a knocking late at night? One that seemed random, but may be hiding a message? And what if seemingly no one else could hear it: how far would you go to try and help an unseen presence that may be in trouble? This is the dilemma that Molly (Cecilia Milocco) faces when she moves into her new flat.
Director Frida Kempff and writer Emma Broström craft a world, intimate in focus, that feels expansive and lived in. Trauma and grief are etched on the narrative, tapping into so much of the horror of modern life; from living in an urban setting, to the role of gender in society, it’s often a profoundly upsetting watch that descends into a Kafka-like hell.
In an impressive ensemble Milocco is stunning, subtly shifting her body language and intonation as the narrative develops whilst also deftly handling lighter moments along with more sinister beats.
A taut and deeply impressive affair, with tension that builds exponentially as it lands gut-punch after gut-punch, Kempff has delivered a remarkable achievement, and one that haunts long after its final knock.
One response to “REVIEW: Knocking (2021)”
[…] the finale may leave you needing a stiff drink and a moment to yourself. There are similarities to Knocking (also found on the festival circuit this year), though together they show the diverging paths […]