Rabbit Trap Needs More Than Technical Razzle Dazzle

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Nestled in the Welsh countryside and filled with both earthly and eerie sounds, Bryn Chainey’s atmospheric folk-horror film “Rabbit Trap“, debuted at Sundance, showcases remarkable technical mastery. Given its subject matter, this is hardly surprising. The movie focuses on a couple, Darcy (Dev Patel) and Daphne (Rosy McEwen), who are married audio engineers and musicians, living in a remote rural home to freely record and experiment with the captivating sounds surrounding them. They record the wind, water, mud, earth crunching underfoot, and bird murmurations. In their intimate moments, Darcy uses a microphone to create music from Daphne’s body, touching her arms and face gently. At its finest, this film underscores that effective horror relies heavily on audio rather than visuals or storyline. However, it also warns us that movies require more than just impressive technical effects to truly resonate.

Stepping into the vibrant, retro setting of 1976, first-time feature director Chainey masterfully immerses us in the tangible allure of the epoch’s technology. From records and tapes to spools and switches, these relics are as much a part of the cinematic scenery as the rugged landscapes, adorned with thistles, moss, crags, and forests.

In the heart of this pastoral paradise, an enigmatic young boy (portrayed by Jade Croot with an eerily youthful charm) emerges from the fields, spinning yarns of faeries and regional myths that captivate a local couple in unexpected ways. Was his arrival merely a consequence of Darcy accidentally treading on a faerie circle formed by mushrooms? Or could he be a manifestation of the couple’s subtly suggested longing to start a family?

This intriguing and visually captivating film promises a journey into the realms of mystery and desire, set against the backdrop of an era that seems as distant as the fantastical tales the boy weaves.

In my humble opinion as a film critic, this production appears to falter significantly in its character development department. The protagonist, Darcy, remains an enigma, with scant revelations about his inner world or backstory. His recurring nightmares of a monstrous, demonic figure feasting at his bedside are hinted at as repressed memories, yet the movie fails to capitalize on this intriguing detail, instead using it as a vague reference to childhood trauma.

What’s peculiar is that while Darcy’s nightmares seem to be a constant feature in his life, Daphne’s curiosity about them appears surprisingly fresh. His reluctance to discuss these dreams feels more like a plot device meant for our consumption than an authentic part of their relationship dynamic. In essence, the narrative seems to prioritize mystery over emotional depth and character growth.

The film makes its themes of repression and burial quite explicit, almost shouting them at the audience from the very start. It’s not just hinted or suggested; it’s screamingly obvious. For instance, the opening scene features a booming, ominous voice discussing how sounds and music seep into the earth, into the depths of the underworld, implying that our secrets are buried there. Later, Darcy asks Daphne if she ever wants to dissolve or melt into the earth, and there are numerous other lines that convey similar ideas. In essence, sound is depicted as an invisible echo of energy exchange, a lasting memory etched in the air, with noise being older than language and flesh itself. The film also suggests that when you hear a sound, it inhabits you. Frankly, these themes can be quite intense, and while a little goes a long way, too much can still feel impactful.

In simpler terms, the film “Rabbit Trap” appears overly artistic with its thin characters and cryptic storyline, yet seems incomplete when it comes to human interactions. The movie is rich in symbolism related to sound, ground, demons, faeries, and rabbits, but fails to provide necessary context about the people on screen. Not only does it fail to answer questions, it fails to evoke any emotions beyond what one might feel with a high-quality sound system. It’s recommended to watch it in a theater. Director Chaney demonstrates clear skill and talent, but the movie often feels like an artistic experiment rather than a story that can genuinely scare or move viewers.

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2025-01-25 21:53