Dave Patel stars in a mixture of cosmic and popular horror

What is the difference between Popularity and Cosmic horror? These two special sub -players of horror films are some puzzle – they can be said that they are the oldest roots of all forms of terror, but they are relatively new when it comes to their definitions. In Layman phrases, cosmic horror tends to refer to the type of fear caused by HP Lovecraft, and the idea of ​​the existence of natural, old and eternal powers on the ground and in the universe that goes beyond human understanding. Popular terror usually includes myths, folklore and religions for a specific region or culture. You can see from these loose definitions how they can be easily confused for the other, as well as how they are both free enough to coexist in the same movie. Many modern cosmic horror films (such as Ben Witly “On Earth”It has elements of popular terror, and some modern popular horror films (such as David Brookner “Rituals”They have a great deal of cosmic awe.

“The rabbit trap”, which was written and directed by Brain Chinai, is undoubtedly a mixture of popular and universe horror, and many elements of both of them use his story about the relationship of an old, mysterious (and hairy) entity with a young couple. However, the film is not a large mixture of peanuts and the eggs, as the different metaphors and meanings of the story feel both both and veiled. Do not make mistakes, “Rabbit Trap” is a horror feature, however it is not at all interested in providing a rollrcoasster or Rumb riding with fear of the audience. It is a difficult movie, asking the viewer to keep up with and explain different moments in several ways. In this way, it can leave you more confused than sharing. However, if you are ready to meet the movie in the middle of the road, the rich fabric of the texture that Chainey wearing it and through the movie can be more useful than the first look.

Those who assume that “rabbit trap” will develop into a terrible horror movie that can be forgiven, as the film begins with a classic horror of isolation, home invasion and threat. It is in 1976, and the young couple, Dafni (Rosie McQueen) and Dave (Dave Patel) moved to a hut in the Wales countryside, which is noticeable to each of the extremist distance and his proximity to an old forest. DAPHNE is a leading e -musician with a daytime, and she is trying to use the spouses to the source of the source and inspiration for a new album. Darcy is tangiblely trying to provide noise for her creative fire, wandering around his new surroundings with a Nagra recorder and a thick directional microphone. During one of this residence, Darssi steps properly within a ring of mushrooms in the forest, which turns out to be a fairy link. After the souls of the forest were alerted to their presence, a child and died by a child (Kade Croot), who presents themselves as an orphan hoop living nearby. Soon after, of course, the child sambs himself to the life of the couple with increased regularity and density.

There are many elements of terrifying terror in “Rabbit Trap” – for beginners, there is a sub -type “creeping child” that includes everything from “Oll” to “Orphan,” Who carries this film some similarity with. There is also the “cabin in the forest”, as well as the sub -domestic invasion, and at one stage, Chainey offers a large dose of cosmic horror when the child takes Dafni to meet some ancient spirits that reside in a rift of dimensions in a forest. However, while there is a lot of fateful threat and awe of threads throughout the movie, Chainey appears to be determined not to let it boil in sudden or continuous violence. There is a large amount of nightmare pictures in the movie, all of which are very effective. However, there is no warning of evil events that must be followed, but rather as a way to shed light on the painful memories and the pent -up secrets that lie in wait for each of the characters. Ultimately, the “rabbit trap” is less than a traditional horror movie and is revealed as a fairy story in the sense of the most classic brotherhood. It is an ethical example of the dangers of repression and the preservation of secrets from the closest to you, as well as the concept of paternity and motherhood is not necessarily for everyone at any time. In this way, there is a wonderful and emotional reward in the movie, however it will only frustrate those who hope to get their bell.

It will be much easier to defend the “trap of the rabbit” if this is not the fact that its pleasures require a little more excavation than usual. This “digs” in the literal sense as well as the metaphorical – and a lot of the film depends on the real Welsh folklore, specifically the legends of the falawyth teg (which translates in the Welsh Middle “translated into a” fair family “). This is in addition to the existence of practical knowledge of fictional myths in general, especially those related to the concept of change, human -like creatures that use fairies to replace real human children after their kidnapping. Chainey does not provide any opening crawl, emptying information or another show in the same film to prepare international fans of these topics, so it is not surprising that some Americans (who barely realize that the huge pop star is outside the United States of America, as we are, as we are. Recently, you may have a problem with following the story.

Of course, the audience should not have to do my homework before seeing a movie, and the biggest problem faced by the “trap of the rabbit” is not enough to prepare the viewer for what they see, complete stopping. On the primary functional level, every movie must ever teach the audience how to watch it, and Chainey flies about once, which prevents the film from feeling cohesive. There is mastery of speed and tone that helps the best films that feature a fictional dream logic, and “Rabbit Trap” contains many moments that have not been resolved. Keeping DAPHNE and Darcy mysterious scraps is one thing; The presentation of a lot of what may or not is real is not very axis.

It is very bad, because the primary trio of actors do a great job here. They must almost, as really in their looks with each other and their dialogue (mentioned and non -residents), which provides a lot of movie meat. Although Chainey takes a long and winding way through many transfers, actors managed to maintain the film’s basis.

What the “rabbit trap” lacks in its narration, which is more than its aesthetic compensation. There is a cheerful touch quality for the film throughout its operating period, which is evident in everything from Darcy and DAPHNE (including OH-SO-EERIE, The Therin) to the trees seen around the hut. . Perhaps the largest strength of the film is the way in which the time period that was chosen by these aesthetics can be evoked-there are no cheese needles or fashion options, but rather a quality that remembers the TV films produced by the BBC in the 1970s. Any lover of Christmas stories and TV in Nigel Collim should love the way the rabbit trap appears.

In addition to the visual ingenuity of the film, “Rabbit Trap” has a rhythmic ear quality of it and is charming. It can be a chainey dialogue, especially when it is delivered by Croot-Like Barry Keoughan, fascinated, and its wealth is similar to Grimm by Brian “Dark crystal” Froud. But it is the design of Graham Riznik who leaves an indelible sign on the movie and your mind after its experience. “The rabbit trap” is not a particularly scary movie, but it is a greatly painful movie, which is the Reznick’s work that gives it this special power.

Despite the mistakes of the movie, Chainey is a movie director to watch it, and if it continues to develop as a director, it may end with “Rabbit Trap” to reconsider and reassess it as the first special time. Currently, the film is a painful curiosity, a movie on the threshold of both popular terror and cosmic horror without resolving this tension. Like a luxurious device, the movie may make you either avoid it because it is very polite, or it may end up to capture if you take its taste.

/Film classification: 7 out of 10

“Rabbit Trap” was shown for the first time at the Sundance Film Festival 2025. The official release date has not yet been announced.