Twins Max and Sam Eggers are the brothers of filmmaker Robert Eggers, behind The Witch, The Lighthouse, The Northman, Then Nosferatuexpected at Christmas. Both have contributed to his films. Max has co-written, among other things The Lighthouse.
The Front Room is the duo’s first feature film. Without denying their talent, we found it unpleasant and repulsive. While this is certainly the desired effect, we’re not sure we understand the intention.
Belinda (Brandy Norwood) and Norman (Neal Huff) are soon to be parents. Their joy is eroded by anxiety, as their first child, Wallace, died shortly after birth. Also, as her maternity leave approaches, Belinda has had two classes removed from her anthropology school.
Added to this is the death of Norman’s father. Among his last wishes, he asks the couple to welcome his second wife, Solange (Kathryn Hunter). This news plunges the future father back into his childhood traumas: his very religious stepmother would not let him eat before he sang Jesus Loves Me and he could only watch one tape of VeggieTalesbecause the Nick Jr. channel was ungodly. But since Solange offers them all her money, the lovers reluctantly open their door to her.
Shakespearean actress Kathryn Hunter (Poor Things, The Tragedy of Macbeth) is unrecognizable in the role of the abominable old lady. Her frankness declaimed with a southern accent, her incorrigible racism, her clumsy gait with her two heavy canes, her crises reminiscent of those of a young child and, above all, her episodes of incontinence, which seem voluntary. Once the baby is born, we are treated to a disgusting sequence that links together scenes of changing a baby’s diaper and cleaning up a mother-in-law’s leaks. Those who have seen Game of Thrones will have memories of Samwell Tarly emptying bedpans. Still, one does sympathize with Solange for a moment mainly because of the humanity Kathryn Hunter infuses into her performance.
The sly direction and music by Marcelo Zarvos—a frequent collaborator of Antoine Fuqua and Todd Haynes—which notably adds musical saw to classical pieces by Mozart, Chopin and Schubert, suggest that Solange will reveal herself as an incarnation of evil. Especially since she claims to be possessed by the Holy Spirit. The conclusion will surprise you, at best, but will probably leave you wanting more.
The Front Room should have been funnier or more terrifying. It’s hard to imagine how this in-between will find its audience. Max and Sam Eggers still demonstrate a certain talent behind the camera. And we hope that the singer Brandy, who does rather well in this scenario, will get more dramatic roles.
In theaters, in original English version
Psychological thriller
The Front Room
Max and Sam Eggers
With Brandy Norwood, Neal Huff, Kathryn Hunter
1 h 34