Film: Dir. Hans-Christian Schmid - Requiem

Dir. Hans-Christian Schmid
Requiem
[Horror / Drama]





Before anything is said about this movie I ought to make one thing clear: Requiem is not The Exorcist. While the film does focus on the idea of demonic possession, no-one sucks anything in hell, crucifixes are only used for religious ecstasy and, as far as I can tell, nothing juicy goes up anyone's ass. That is not to say Requiem isn't creepy - it most definitely is - but in a markedly different way to its forebear. Thankfully, it opts not to pursue the needlessly shlocky route popularised by recent teen slashers either, preferring to spook the audience with a brooding, sophisticated horror.

Those who remember 2005's The Exorcism of Emily Rose will be familiar will the premise, as both movies are loosely based on the life of Annaliese Michel - a girl who underwent a much-publicised, real-life exorcism in 1975. However, whereas ...Emily Rose chose to glorify the frights and was "based on real events" in the traditional American sense (i.e. not at all), Requiem is a relatively subdued and slow-burning affair.

It has that familiar European indie feel whereby people talk, talk some more and occasionally shout at each other. Every upbeat moment is short-lived; immediately followed with a depressing revelation. Extended silences allow the viewer time for philosophical reflection. Fortunately, though, the strength of the acting performances is such that Schmid just about pulls it off. Most of the main cast manage that laid-back, everyday mood that, ironically, requires a great deal of effort to portray convincingly.

Notable, too, are the scenes in which Michaela appears to be possessed, which achieve an equally mundane yet compellingly voyeuristic atmosphere. Sandra Huller throws herself about, wailing miserably and covering her ears, but the audience sees nothing. Is the possession real, or just a figment of the girl's imagination? That, thankfully, is never explained, leaving open a teasing ambiguity to ensure Requiem creates a lasting impression.

While the film's sense of style and setting is commendable, clumsy characterisations are commonplace and undermine much of the artistic complexity. A cinema brochure boasted that Requiem "avoids any of the easy clichés about religion", but the strict/liberal parent archetype is one among many instances that suggest otherwise. Michaela's mother (Imogen Kogge) is the stereotypically dogmatic parent while her father (Burghart Klaussner) is prepared to reconcile his daughter's hedonistic lifestyle. Marriage difficulties and dramatic tension predictably ensue, though Kogge's stony glares and heartless indignations are uncompromisingly mean. Likewise, the idea of a streetwise friend liberating the sheltered central character is nothing new. Is it even worth mentioning the creepily sincere yet slightly sinister vicar that ticks all the usual boxes? Only Michaela's boyfriend Stefan (Nicholas Reinke) is a believable portrait, echoing our incredulity as the madness unfolds around him.

All in all, Requiem convincingly portrays the chain of events which perpetuate Michaela's decision to pursue exorcism. While its social commentary is perhaps a little weak (blind faith is bad, people!), it effectively combines carefully plotted, believable settings with an deliberately lo-fi feel. Credit is due, then, for displaying such extraordinary events so convincingly. Where ...Emily Rose went for shocks, this will make you shudder. 77