As with Folk Horror films, ‘The Babadook and ‘Under The Skin’, there are unsettling themes in Benjamin Barfoot’s psychological horror that depict the preservation of unwanted denial after the bereavement of a dear one. Sudden death, such as a car accident secretly carries a huge impact on the mental psyche of people. Derived from horror, this concept has been accepted by many in different subgenres such as grief horror. Barfoot, however, goes in the opposite direction, manipulating the images presented to dilute the meaning behind the film, creating a piece of art that is bound to bewilder and captivate viewers.
The film portrays the journey of a child of a soldier and an alien woman who fell in love. There is an irony, as Rupert Turnbull does an excellent job portraying a boy named Issac, who lost his father James (played by Charles Aitken) just a short period after losing his mother. The loss of both parents so suddenly leaves Issac as an orphan. The death of his mother leaves him helpless deep in the countryside where he has to live with a stepmum named Laura Brown (who is played by Julia). Laura makes it evident that she never intended to be a single mother. She explains how she fell in love with a man and became a stepmother, but the reality now is that she is in over her head and doesn’t know if she wants to be Issac’s guardian. She also considers the state of foster care for him and ironically proposes to him. In order to get over the feeling Laura begins to drink and ends up seeking comfort from a divorcee friend Robert, played by Nathaniel Martello-White.
Within the context of emotionally scarred and severely damaged terrain, there appears something that borders on the impossible. In conjunction with trees set ablaze, James and Laura experience an alien-like nature. This portrayal of their experience is fortunate for the film’s lack of cohesion which I see as its strength. I can only say that this girl Laura and Isaac return under the table after James’s funeral only to discover James is gone. Remember this along with multiple disturbances present under the table Laura sets herself free. Laura’s assumption of what it could have been proves to be very astute and undeniable.
Apart from Laura, it is possible to start visualizing that creature’s dark presence around almost every corner. The figure starts revealing itself to Isaac, much to Laura’s dismay it is certainly not limited to the room’s cavern-like AC ventilation. Strangers at the cinema encounter the ferocious face of the witch residing in that shack – Agatha, thus enhancing the fables of Barfoot’s writings. Multitudes of storytelling reinforce that nothing worthwhile resides there, however, one enduring impression stems from Isaac’s refusal to stop searching: Whatever this thing is, it has Daddy’s head.
This kind of scenario looks at the depth we can cover or even the lies we are willing to tell just to have a couple of moments more with a loved one who is no longer alive. The theme has always been a major one in horror fiction. What do you lose to bring someone back from the dead? Barfoot manipulates this theme in a very illustrative way, capturing the emotions of the story thanks to outstanding work from Turnbull and Brown. Young Isaac’s position challenges our sympathies. He is a good actor and is able to convey both terrifying hopes. Deal with the devil? He is aware of it not being okay, but it is Dad after all. Brown is able to express the magnitude of grief that comes with a new motherhood role, which is exacerbated when a new theory emerges about Isaac and possible murder secrets he could have been hiding.
Indeed, “Daddy’s Head” has a lot of intricacies that need to be understood. However, Barfoot’s undertakings of the film’s sharp technical elements such as superb production design, cinematography, and editing is what hold the film together. Even though I wish he had one or two fewer jump scares and a bit more refined CGI, what works here is the film’s overall mood more than individual moments. Most notably, Barfoot and his team convert this cold, remote estate into a character that is much more effective than his other strategies, returning to it provides none of the standard warmth of a happy home. He makes use of recurring images very effectively. In fact, he often employs circles and straight lines that make the chaotic fluidity of the monster and its home feel even more terrifying and anarchic. This space is an embodiment of everything the monster belongs to, including Daddy’s head.
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