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Speak No Evil(Gæsterne)

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Denmark, Netherlands · 2022
1h 37m
Director Christian Tafdrup
Starring Morten Burian, Sidsel Siem Koch, Fedja van Huêt, Karina Smulders
Genre Horror, Mystery

A Danish family travels to Italy to visit a Dutch family they met on a previous holiday. What starts out as an idyllic weekend quickly turns sour as the Dutch family begins to behave in bizarre, erratic ways. Afraid of being impolite, the Danes stay, facing a series of increasingly grotesque events.

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What are critics saying?


Film Threat by Bobby LePire

Thanks to a smart screenplay, excellent, stylish direction, and an outstanding cast from top to bottom, the entire production will unnerve and shake up all watching.


The Playlist by Charles Barfield

Speak No Evil might not be a thrill-a-minute film, but it’s effective in a way that many horror movies just aren’t anymore. Watching it evokes the feeling of inching closer and closer to the end of a cliff; at any moment, you feel like you might still escape the situation until you eventually reach the point of no return.


Variety by Dennis Harvey

The director shoots and cuts almost every scene so that the most innocuous action seems charged with the expectation that something awful is about to erupt, cranking viewer tension to an unpleasant degree.


Paste Magazine by Jacob Oller

Those looking for bleak, slow horror and who are willing to suspend plenty of disbelief might want to check it out, but it won’t rock the worlds of the rest of us.


Entertainment Weekly by Leah Greenblatt

Pay no attention to the shades of late-night cable in the title; Speak No Evil is a lamentably generic name for a movie as stark and unsettling as Christian Tafdrup's queasy, inexorable thriller.


IndieWire by Susannah Gruder

Speak No Evil is the most cunningly depraved horror film in years, offering a piercing commentary on the ways we accommodate others to the point of self-subjugation.


Screen Daily by Wendy Ide

It’s a profoundly uncomfortable piece of filmmaking, a meticulously judged exercise in satirical sadism. But a question mark over the third act climax leaves the audience with a sense of doubt: the ’what’ of the situation is genuinely disturbing, but the ’why’ is more elusive, a niggling inconsistency which undermines some of the picture’s considerable impact.

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