Horrors Elsewhere is a recurring column that spotlights a variety of movies from all around the globe, particularly those not from the United States. Fears may not be universal, but one thing is for sure — a scream is understood, always and everywhere.
Standing trial for robbery is just the beginning of Kylie Bucknell’s troubles in the 2014 film, Housebound. In light of the defendant’s repeat offenses, a judge decides Kylie needs stability; something maybe her mother can provide. Others in the same boat would be relieved to serve their jail time with family and in the comfort of their childhood home. Yet judging from Kylie’s reaction as she hears the details of her sentence, going back home is nothing short of terrifying.
Gerard Johnstone’s directorial debut starts off like a lot of other horror movies; someone returns to their hometown. Of course Kylie (Morgana O’Reilly) is not visiting Bulford of her own accord. For the next eight months, Kylie is left in the care of her mother Miriam (Rima Te Wiata) and stepfather Graeme (Ross Harper). The transition is not easy given the visible friction between daughter and mother, and the presence of what may very well be a ghost in the house. Kylie’s search for clues with probation officer Amos (Glen-Paul Waru) soon reveals this is no ordinary haunting.
The horror elements come into play after Miriam plants the idea that the house has always been haunted. Kylie is skeptical, but the mother reminds the daughter she used to feel similarly growing up. This is where Miriam does Kylie a disservice; she fills her head with superstition. And with the protagonist under house arrest, she now spends her time trapped inside with a supposed ghost. Her cabin fever eventually gives rise to obsession and paranoia. Ordinary sounds — the house settling or cats crying in the middle of the night — are suddenly proof of the uncanny. Amos’ convenient hobby of ghost hunting only adds to the problem.
Housebound comes from a long line of horror movies that combine comedy with terror. This enduring trend of humorous horror is especially popular in New Zealand, and it took off after Peter Jackson’s earlier films, Bad Taste and Braindead. Although nothing in Housebound is all that spine-chilling, Johnstone still manages to create and sustain tension in spite of the wacky atmosphere. Those intervening doses of humor throughout also soften the story’s heaviness without removing any of the emotional value or effect.
Families are a timeless subject in horror. While other narratives have a tendency to be serious or abrasive with the topic, Housebound is lighthearted but also not shallow. Moments punctuated by quips, wit or slapstick still have some emotional weight to them. This includes Kylie’s simmering resentment as she hears her mother’s every word, Miriam’s passive aggressiveness after discovering her daughter has done something thoughtless again, and Kylie feeling out of sorts when on the receiving end of genuine affection. The characters’ inability to express their emotions is both amusing and relatable.
Kylie is not the easiest character to root for. She is indignant, stubborn and selfish. It is never completely laid out why Kylie begrudges her mother so much, but a good guess would be her absent father. Kylie’s court-ordered therapist Dennis (Cameron Rhodes) hits a bit of a sore spot when he brings up her estranged father, who moved away years ago and started a new life with his new family. Logic suggests Kylie would be mad at him, but as is so often the case in these divorces, the child takes their anger out on the parent who stayed. Kylie gives in to bad habits when she finds out the truth about the house’s origins and blames her mother for everything. Miriam, however, is naturally stoic. She could have been more truthful with her daughter, but whether or not it was intentional, Miriam offered herself as a target for Kylie’s spite as well as a distraction from the pain of losing a father.
Normally viewers might feel disappointed when a horror movie changes course midway through. As soon as Kylie starts chasing ghosts and digging up the past in the second act, Housebound restates its own mystery. This entails a protracted hunt for answers, which at times makes for a less spirited story until the conclusion. As an alternative, the plot shakeup adds to the themes of family and acceptance and sets the stage for a gory tour of the house.
Kylie and Miriam’s strained relationship slowly but surely improves. They are on better terms at the end, but the road getting there is fraught with bumps. At first their clashes are routine; Kylie always undermines her mother’s optimism and refuses to listen to her advice. Things then escalate as Kylie’s investigation becomes more intense and involved. Originally, Miriam protects Kylie when the police insinuate she had something to do with Dennis’ bizarre injury. No matter how unkind Kylie is toward her and everyone else, Miriam still wants to help her daughter. That maternal bond is later challenged once Kylie’s erratic behavior causes accidental harm to someone close to them. At last though, a disheartened Miriam manages to come out in full support of her child when everything becomes especially hairy in Housebound.
Baked on top of the central family drama is a ghost story that takes some considerable turns. The basic concept is familiar, but Johnstone’s approach is refreshing, genuinely funny and fairly consistent in tone. Housebound is yet another win for Kiwi horror.
