The credits open against a blackened backdrop, our vision lost amidst a vast nothingness as we are invited into falling snow. We are then directed to an apartment complex, its many windows dim except for a few. It seems we are outside peering in, though the reflection of a young boy, his luminous hair a halo, tells us we are inside. A little girl in the back seat of a car can be heard humming as a man, who could be her father, smiles back at her, though his expression quickly slips into solemnity. A resident of the apartment complex stands outside and gazes up at a window being boarded shut, an image of someone looking out permanently trapped between the confines of one world and the emptiness of another.
Tag: Tomas Alfredson
One thing that has held true throughout the history of horror cinema: kids are creepy. From nearly everyone in VILLAGE OF THE DAMNED, to little zombie Karen killing her mom with a garden trowel in NIGHT OF THE LIVING DEAD and Laddie the boy vampire in LOST BOYS, we can see that combining childlike innocence with the monstrous seems to be a recipe for the heebie-jeebies.