Sundance Film Festival 2023: Midnight Section: INFINITY POOL, BIRTH/REBIRTH & IN MY MOTHER”S SKIN

It’s time for one of my favorite sections of the lineup: Midnight. Three of these Midnight selections all pose the idea of: How far would you go? For family? For excess? While they are all three different, each one explores an element of that. Some delicately, while another… throws discretion to the wind.

To start, let’s kick that door down early.

Infinity Pool (Brandon Cronenberg)

James Foster (Alexander Skarsgård) and wife Em (Cleopatra Coleman) decide to head to a resort for a recharge in an unknown locale. This will give James an opportunity to be inspired, to start his next writing project. However, it isn’t going quite as he expected. There they meet Gabi Bauer (Mia Goth) and Alban (Jalil Lespert), another couple who frequent the area.

They begin spending time together and it isn’t long before it becomes clear that this isn’t the best of company. When an accident occurs, it leads to a horrifying discovery and an introduction to the strange and sick forms of punishment one undergoes when a law is broken. Without spoiling the details, Cronenberg weaves a tale that is science fiction and horror based, which also manages to tap into the obscene ways humans react to power. Following a year of films (and shows) that were examinations of the abuse of the rich, this is a timely addition. However, Infinity Pool is a much more disturbing take. It is a no-holds-bar dive into the danger of actions with a lack of ramifications.

Infinity Pool becomes gloriously unhinged as it swallows up the possibilities of what one can do if consequences are removed. What it does allow for, as the film scorches on, is the potential impact this can have on the psyche. It is demonstrated through our band of no-good doers, especially Skarsgård who burns out on the high fast, appearing weak when really he’s the most human. But what does this science-fiction/horror present intellectually? Or does it?

Audaciously flavored, it’s not for the weaker stomachs, as it plays into its debauchery from every angle. Goth is exquisitely suited for the taunting and alluring young woman who wields her prowess for pleasure and pain in equal measure. Skarsgård is game for anything and he doesn’t let go when it comes to embodying this existential thrill-seeker. The film is entirely practical effects which make the visuals, often feeling like a fever dream, with a mask design that looks like a beautiful nightmare, instinctively effective. It’s graphic, the unrated version especially so, alternating between shocking and gawky. Does the dance get tiresome at times? Perhaps. But this is still a dizzying display that’s hard to ignore.

Brandon Cronenberg’s newest is a disturbing, electric, sex, and crime-filled odyssey. A chaotic dive into depravity cementing Mia Goth as our newest horror queen. This is a visceral, surreal take that may not strike a chord with all, but it’ll leave most slack-jawed. For me, it was dangerously innovative. The way I like it.

Birth/Rebirth (Laura Moss)

This Frankenstein-esque plot has the potential to fail but instead, it soars. Birth/Rebirth finds a balance between dry humor and harsh reality, amid a line of grief and hope. In many ways, it is a drama as much as a horror and a tale of motherhood and female companionship.

Hospital midwife Celie (Judy Reyes) is caring in both her work and in her life. When her daughter Lila (AJ Lister) becomes aggressively sick, Celie is distraught by a fatal loss. From there she finds her way to the bowels of the hospital, towards an unexpected discovery and opportunity.

Dr. Rose Casper (Marin Ireland) works in the morgue and is secretly doing experiments. When Celie’s daughter arrives, she feels it’s the perfect opportunity to continue her research. Little does she know, Celie will follow up, and soon the two of them begin working together towards a common goal. It’s a twist of fate, but one that proves that they are in the right place at the right time.

It is emotionally riveting because of the lead performances. Marin Ireland and Judy Reyes both work efficiently, coming from varying sides of the story, each with their own intent and personal investment. Together, they forge a healing and conducive relationship but is their goal still one that can happen? And should it? There are elements of morality and obsession that tie into the narrative making this a thought-provoking horror that never lets up.

I was quite transfixed by the relationships at play, but also the determination that feeds this intriguing storyline. It takes on motherhood and the drive to not only procreate but also survive to a degree that is rarely captured. It’s done in a way that feels especially formidable.

It’s gory, it’s shocking, but it’s never dull or unrelenting.

Laura Moss‘s debut boasts some stellar female performances from Marin Ireland and Judy Reyes. It’s an intriguing rumination on grief and motherhood through a new horror lens with lovely flourishes of clever humor throughout. A must-see.

In My Mother’s Skin (Kenneth Dagatan)

There are similarities to Del Toro’s Pans Labyrinth, but In My Mother’s Skin retains its imaginative conceit with a beautifully macabre set and creature designs. It feels more horror-driven, giving credence to its setting and time and the lengths someone will go to for their family.

In 1945 Philippines during the end of World War II, Tala (Felicity Kyle Napuli) deals with her father who has left after being accused of stealing, and her mother (Beauty Gonzalez) whose health is frequently declining.

When she comes across an alluring fairy (Jasmine Curtis-Smith), she gets the inclination that she can help with her mother’s illness. Of course, Tala will take any opportunity, but it turns out that this is one of those instances where deception is afoot. After accepting her help, her mother isn’t as she was, and from there, Tala has to manage a lot more than just an illness. It’s become supernatural, and with it, the film takes on a sheen of magical realism that is both invoking and provocative.

I really dug this macabre fairytale. The production design is excellent and the script is inventive. #Midnight showings this year haven’t let me down. I can’t help but applaud this section. Not only because I am an avid horror fan but because I am consistently surprised by how this genre proves to show inventiveness and originality in a way that stands itself apart. 

In My Mother’s Skin boasts a fantastic child performance that takes us through this challenging but intoxicating world where magic is real, and darkness permeates. It’s gorgeous to behold, and intriguing to ponder.

In 2023, it’s clear that Sundance is hitting all the marks when it comes to Midnight. It’s weird, it’s shocking and it’s intimate.