POMO

In terms of subject matter, Breeder is a more ambitious and more sophisticated Hostel, but it’s not much more intelligent. This is surprising for the Danes, particularly when they attempt a dramatic thriller with a study of the relationship between the central couple, where she has masochistic needs and has no idea where his secret business will take her. Unfortunately, the motif involving the confrontation of sexual desires with harsh reality is not fully formed. However, less discerning lovers of the cinematic suffering of helpless female characters will find what they’re looking for, as the film treads on the edge of mainstream conventions. Just don’t expect the main female villain’s biological research to be explained in any reasonable way, because it won’t be.

A bizarro film along the lines of Eraserhead, but more anchored in reality. A gloomy setting and dream sequences, sometimes chronologically scattered. The protagonist’s trauma and the monster to whom he is psychologically bound and who is a metaphorical personification of his nightmares. A cinematic mindfuck for the select viewers who can handle it, with the cool actorly facial expressions of Sean Harris and a vocal showcase by Alun Armstrong. In the end, however, it’s impossible to say if it works in any meaningful way or elicits any emotion.

For a film that looks like the work of a student, Harpoon is a well-written and well-acted genre flick. You will surprisingly become comfortable with the trio of not exactly likable characters on the boat thanks to their authentic depiction. The interplay of lies, questionable friendships and secret romantic relationships works well. The final surprise is far-fetched, but it suits Harpoon’s B-movie nature. The blood and distastefulness give a reasonable boost to the attractiveness of the “intimate” conflict for viewers.