"Skinamarink" - Film Review
With all horror movies, an inherent sense of dread burrows into the audience as soon as the film begins. They become hyper-focused, looking for ghosts and ghouls lurking in the shadows. It’s no different with Skinamarink, the indie horror film that took audiences by surprise and is now coming to Shudder after a successful theatrical run. Shot on digital, but made to look like the footage is from a camcorder, Skinamarink has the essence of a found footage film without the restrictions of forcing a character to always be managing the camera.
Skinamarink was shot in director Kyle Edward Ball’s childhood home and is based on a nightmare he had as a child. Despite the fact that Ball isn’t present in the footage, it’s almost impossible not to mention how personal this film is for him. It’s his nightmare, his toys, and his sibling relationship on full display. Ball has tapped into the specific fears of his own childhood to create something that resonates with a wide audience.
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The plot for the film is sparse. Four-year-old Kevin (Lucas Paul) injures himself in a sleepwalking incident. His six-year-old sister, Kaylee (Dali Rose Tetreault), wakes up some time later to find that their father (Ross Paul) is missing and the doors and windows of their house are vanishing before their eyes. As the siblings try to find their father and make sense of these unnerving disappearances, the house begins to create a world of its own.
Those coming into Skinamarink expecting to experience something like the Paranormal Activity franchise will no doubt be disappointed. Skinamarink doesn’t rely on jumpscares, nor is it concerned with focusing on the characters. Audiences never get an actual look at Kevin or Kaylee, and instead are forced to view the world from their height and their level of comprehension. It’s meant to be immersive and take viewers back to their own childhoods. They’re forced to remember what it’s like when a child is trying to sleep, but hears strange and frightening sounds throughout the house. When the lights are off, the place that seemed safe, home, turns into something potentially sinister.
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Skinamarink is a slow build, there’s no way around it. The film asks audiences to be patient as it lays the groundwork of a nightmare. One could argue, and many probably have, that there are too many shots where nothing happens. Just prolonged looks at various rooms of the house or pieces of furniture. However, it’s about the mindset the audience goes into the film with. This is not a cheap scare. Skinamarink is something that will burrow inside of you, but only if you let it. The film has a key that can unlock feelings of terror you thought were long gone.
Skinamarink’s power is easily summarized by a moment early in the film where Kevin and Kaylee see a dining room chair on the ceiling. In something like Paranormal Activity, the scare would be in the chair loudly flying up to the ceiling. Instead, Skinamarink calmly shows the audience the reality for Kevin and Kaylee. Minds, especially those of children, can play tricks. Think back to your own childhood when you were absolutely certain you saw something move in the corner of the room, or that there was a monster under your bed. Skinamarink is not concerned with documenting reality. Instead, the film manages to document the visceral claustrophobia of a childhood nightmare. Things don’t have to make complete, objective sense here, but they do have to feel logical in a childlike way.
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The success of Skinamarink relies on the willingness of the audience to put themselves in the shoes of Kevin and Kaylee. To tap into their own childhood nightmares and remember the feeling of helplessness that comes from a nightmare. Skinamarink isn’t a particularly easy watch. It’s not the sort of film that can be casually turned on at a sleepover, nor will it please every crowd. However, for those who allow themselves to exist in the world of Skinamarink, it will be impossible to shake.
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