Bergholm’s debut is ultimately a knotty delight, however on-the-nose its metaphor about those monsters we fashion from our own disfigured forms of love.
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What are critics saying?
While it doesn't break any new ground in the horror space or do anything super mind-blowing from a narrative perspective, Hatching is a successful (if somewhat flat) exploration of that transitional period in one's life when an earlier version of yourself dies and a new version stands in its place.
A fascinating window into the psychological and emotional minefield of early puberty and the torn feelings of a vulnerable child watching her darkest instincts play out, Hatching delivers.
Bergholm is skilled at keeping the tension high while finding amusing pockets of pure comedy (whatever Volanen is doing is genius, full stop), but the power of “Hatching” is diluted during a final act that can’t quite thread the needle between empathy and insanity.
The ham-handed allegorical construction, generically titled characters, and self-serious tone in its final third drains the story of the specificity that might have resulted in a more incisive critique of the perils of perfectionism.
Probing issues of motherhood, adolescence and identity with a delicate dramatic touch while expertly harnessing some outre genre elements, Hatching is a bold, arresting feature debut from Finnish director Hanna Bergholm.
Hatching is the very essence of a midnight movie and one that will undoubtedly find a sizeable cult following. Sure, its metaphor isn’t as deep as it thinks it is, but this is certainly a solid start for director Bergolm and lead Solalinna.
Hatching, a smartly constructed fright machine, not only introduces a new and exciting voice to the horror landscape but cracks its way through the brain like a beak through a shell.
Timid viewers who are normally averse to horror aren’t going to find much comfort or safety in this movie. But for longtime horror buffs, this feels like something fresh: a simple story, told in the rawest and most startling way, and given a face out of nightmares.
Amid the mischievous mayhem that ensues, Bergholm and Rautsi deserve credit for not abandoning Tinja’s mother.