![]() There is, of course, a dark corruption hiding behind all of this: The Daughters are being groomed to become the next Mothers, and those “impure” are banished to live in exile, hidden away in isolated cabins (three guesses as to what this impurity is). It’s there that they listen to flowery sermons and participate in rituals where the Shepherd smears sheep’s blood on their faces as if it were Ash Wednesday at a satanist Butcher’s shop. Her pastoral surroundings are gorgeous, filmed with aplomb by cinematographer Michal Englert, and their little church - a section of forest tapered off by cloth rope wound around trees like a spiderweb cage - is bizarrely lovely. ![]() Our lead is young Selah (Cassiday), a girl on the verge of womanhood, struggling with her beliefs and her growing awareness of the world that she’s been born into. Eventually, things are made clearer: The girls in blue are Daughters, the women in red are their Mothers, and their Father, the only man in the group, is the Shepherd (Michiel Huisman, best known for being the replacement Daario on Game of Thrones). But when they return to their camp, bits and pieces of modernity creep in: there’s a green trailer, adorned with a Christ-like face, placed in the middle of the camp, surrounded by red-wearing women doing chores. They’re dressed in blue wool dresses, befitting a colorful Amish community, and one would be forgiven for assuming that this is a period film from those first moments. The Other Lamb begins with shots of drowned women clad in white, before giving way to a shot of two young girls sitting and chatting near a waterfall. Malgorzata Szumowska’s The Other Lamb may not offer much thematically to help itself stand out from the pack, but it distinguishes itself with a great lead performance by Raffey Cassidy and a heaping helping of style. ![]() Perhaps that’s due to just how primal the fear of the mob, or the realization that one is a member of said mob, is or maybe its because the blind adherence to ideology is once again manifesting a tangible body count in the US, but it shows no sign of abating anytime soon. THE OTHER LAMB CULT MOVIE MOVIEAnd, finally, with the rise of “elevated” horror, the cult movie had reached untold heights, as practically every major horror success in the genre contains some reference to it. When the zombie or vampire movie swept over the genre like a plague, the cult movie remained popular. When found footage took over totally, the cult movie endured. When the slasher disappeared from the multiplex, the cult movie remained. ![]() One thing that’s stayed in favor over the past few decades in horror, regardless of how subgenres within it fall in and out of popularity, is the prominence of the Cult movie. ![]()
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