Suspiria (2018) and the “night mirror” dream formation of the chamber of mirrors. Part 2.


Rev., Feb 6-10, 2019.

At the end of part one, we were talking about the dream which Blanc sent Suzie,

So, lightning strikes of jumps must take place in a chamber where she has somehow broadened out her vertical variables, able to go deeper in the floorwork, and higher in the air work, making of it a bigger space, that is, an infinite space, a chamber of mirrors, and all of this taught in a chamber of mirrors. So the question, again is, where are we? hypnagogically?

In answering this question, there are two possibilities. In my treatment of the Land of Nod, in the lightest entoptic stage of light sleep, there is a place I call the Village of dreams, where in one condition, and this might be the one I name Amityville, there is a kind of strobe effect, in which the space is forever, quickly, switching from waking to dreaming, from this-world to a ghost-world, this happens most in the Anna Lui movie, The Spooky Bunch (1988, Hong Kong), but I have seen it elsewhere, that repeatedly penetrated dream state happens there, and that is that. Is this that? No, I don’t think it is.

So, there is a second possibility, one, which, oddly, I have only formalized recently, and that is a dynamic agency dream formation I call the night mirror. By this theory, 1) if you have insomnia, you try to get to sleep, but can’t; then, 2) each time you lay siege to sleep, like an ancient army besieging a city, there is a reaction of your push in the dream space, a faultline or hair fracture as it were is created, to absorb the blow. If you have serious insomnia, and for me that will be five at least failed attempts to get to sleep lasting from ten pm to maybe past two thirty in the morning (agony!), then you will have so shattered sleep space, for that night, that it is a tissue of fractures. But, then, 3) the way to get to sleep is to forget it, accept what rest you may get just lying there, stop worrying about getting to sleep, and, then, surprise, you slip in. But after insomnia you slip into a very different sleep space, it is 4) a hall of mirrors, everywhere, in the core, in the adjuncts, the siege of insomnia against it has reduced it to a crystal, all mirrors, and this allows for a full line-less, unlinear wide spinning quality that brings the ambient right in, and in which one floats, and echoes, and, in fact, the brain becomes this big echo chamber (this is a good time to pick up a pen and write poetry, which will sing). This continues for a time, then 5) you begin to come in under the lattice, where the sleeper is, this is where the humming or singing commences, as well as a movement upward; this is followed by 6) moving up “under the bed,’ which includes looking up 7) to see through the mirror on the bottom of the bed. This, then, allows you to 8) wake up not in a leap but in an easy glide, going through the body, in which you find yourself actually humming the song in your awake state. I recorded this model the morning after having experienced all this (I recorded it at last after having experienced it a half a dozen times in previous years). The Night mirror dynamic agency dream formation, then, as I map it out, is an eight step process. Is this structure in Suspiria (2018)? I think it is.

First, it will sound like a rationalization that I make the claim that, moviewise, a lot of the distraction of events that most critics found distracting, represents the “insomnia” in the movie. More precisely, insomnia space is skittish, worried, paranoid, the mind gets too involved in the comparisons and worries of the world. It is beta wave, not alpha wave. All of it keeps you from sleep. This, I suppose, is what the prologue with Patricia was for. She is skirting through chaotic events. The scene encapsulates stages one through three in the model above.

ass 115she runs for cover

ass 116she is, as Josef writes, delusional, spinning out fantasies

ass 117in her paranoia she sees symbols of the control of the cult everywhere. This is a closeup of an image of masonic sort on the binding on a book, she only sees the eye as the eye of the cult, chasing her, through the levels.

ass 118at one point, she looks at an old picture, maybe thinking it relates to the cult, but Josef takes if from her, it is Anke, not relate to Patricia, he will not let her bring it in

ass 119she even describes an extreme state of destruction by the cult, implying cannibalism, of her core feminine power. Then she disappears.

ass 120Each one of these sharp slaps of beta wave worry, that keep one up, creates a fissure in the dream space, so that when, at last, we get into the movie, which is the dream, things are symbolized by mirrors. One is moving into the Night Mirror whirl, this leads you out and around, but, eventually, you go down, but, then, up. You come up I think to the bottom of the sleeping figure on the lattice level. from “ under the bed” space, a well-known trope. And, on the underside of the bed, there is a mirror, and it is, specifically, this mirror, come to precisely at this place, in the context of this spin, in this condition of strange dreaming after insomnia, that you experience the all expansive, gravity defying, floating glory of the Night Mirror.

ass 58

Here is my post about it

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and my map, just like in Patricia’s notebook, sort of

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you do not believe that this can be true. But, I think it is here, in this movie. I do not know how they get there, or who thought this up, but that is what is going on here.

Even more conclusive visual evidence that the hall of mirrors is, in fact, the night mirror, a post-insomnia, arrived-at mirror space in hypnagogy, is that when later, only Blanc and Suzie are talking, the movie introduces them in the mirror room but in a long, drawn out, panorama process that is all but a screenwipe or rinse to as it were say, let’s begin again. This chamber has already been instrumental, now it is going to be so in another way. This is stage four of the model. This time, in that room, there is a wide ambient spin, then Suzie, through witchcraft, learns how to get off the ground. We come in on it as Sara, now alert to coven danger, is listening for voices

ass 64We now hear the voice of Blanc talking, after hours, to Suzie, teacher’s pet, and we break to the mirror room, again, one (panning to the right)

ass 65two

ass 66three

ass 67four

ass 68five

ass 69six

ass 70seven

ass 71with only at the eighth phasing, as it were, of the panorama, we see a blur of Suzie getting out of the elevator (all of this polymorphic as well, though I am not taking that approach here)

ass 72and then Blanc

ass 73and now we have one Suzie on the left split by Blanc and two Blancs on the right, framed by three Suzies

ass 74And then suddenly, it is six Blancs surrounding a Suzie and a half

ass 75they pass another pilaster

ass 76each split, each at cross purposes with each other,

ass 77and then we begin the magic scene where she finds out how to jump, she thinks by her own power, she expanding in herself, in the mis en abyme

ass 78And she soars

ass 79but it is witchcraft

ass 80No one puts a long pan scene in a movie like this without it having a higher purpose, it is not just “there” to be cinematic, it has a function, magically. I think its intent is to elevate the mirror space into a symbol of the hypnagogic space the movie is happening in, and it is, in fact, a visual representation of the mirror space that leads to the Night Mirror. This device has appeared in many movies. Suzy is entirely circumscribed, floating in the ambient-permeated mirror space of the post-insomnia hypnagogy, leading to the Night Mirror

ass 81

Then, the next part of the model, is, steps five through eight, coming up and out. This is a bit more difficult to place. The only movie I know of thus far where this coming up is figuratively worked out is The Sandman (2006), an indie, the hero has gone down into the dream zone which the Sandman controls souls, he is guided by others who show him the way out (stage five).

ass 109In that world, he finds a dream copy of a trailer of a neighbor, he goes in, its pin-up photos on the walls seem arrayed as a body, he sees a light in the far door (stage six)

ass 110He opens it and it is some gelatinous, intestinal, ribbing like structure, for him, in this movie, this is the form the night mirror takes here (stage seven)

ass 111He struggles through it, and we realize it is the interior of the body of his sleeping wife

ass 113So he is able to come up through it, as if reborn, to directly attack the sandman in real space, and get him off of haunting his wife. This is quite good, and extraordinarily insightful for a tiny indie movie, coming this way at the sandman allows him to defeat him (stage eight)

ass 114The mirror room also plays a part in stage five, the ascent; but, curiously, got to in an entirely different way, by some other fantastical stair, that we come to another important place

ass 82through a dark hallway, never seen before, Sara comes out into the mirror room, a circumstance which more or less confirms this space as the central nexus of the movie, all things happening in a space defined by its 360 mis en abyme of reflections.

ass 83again, a quite crucial scene, and, in fact, parallel to the original in the most authentic way, as Sara now counts the steps, and has been told there are special hidden places in the house, she comes to it through the mirror room.

ass 84she knocks on the glass like Olga did to find the door, and does

ass 86When she gets in there she finds a whole hidden chamber of rare porcelains and art, a kunstkammer of precious objects and secret magic objects existing below in the Night Mirror. I think this is where we are, stage six. In another movie, with John Phillip Law as an artist, when a woman in bed was caught in a state of being raped while asleep, she is shown as still having a measure of consciousness, in which she visualizes what is going on, and that it seemed to be exerted by a peeling off of some micro crawlspace below the cover of her horror, the body of the raping man. This is similar to the space in the Night Mirror, in close-up, I believe it IS a body reflection of the body on the floor in the mirror space above. (In the Holly Kane Experiment (2017), she is in a sensory deprivation chamber, and when she gets to a certain janus-figure type reflective face structure in which one half of her face facing upward is reflected in the water facing downward, and I think this is the structure of the relationship between the top of the lattice bed in the lattice stage in hypnagogy and the extra dimension that folds out under it when it is suspended in the mirroring of the whole of the hypnagogic space in the Night Mirror formation)

ass 87as you subdivide the Night Mirror model, the mirror room plays the part of the ambient spinning from the entoptic to the whoosh, then as you come up to it the mirror room in a more secret way leads you in. Then, the kunstkammer chamber is the layer in between, in the shadow of the Night Mirror, and, since it is located, in the topography of the movie, if not precisely in space below the mirror room, it can be construed as, not unlike those in Markos’s chamber in the ‘77 version, the nervous center of the magic play by which people are controlled, the armory, as it were, of the place.

ass 88there are porcelain busts of women

ass 89there is a ballerina music box, and what looks like a turtle on the right

ass 90there is an odd neurological type head

ass 91there is a Crouching Venus, symbolic of dark female power

ass 92though this one is on her back, raising her buttocks in the air, perhaps this is the object through the image of a woman masturbating with the gatling hook in Suzie’s sent ream was transmitted

ass 93there is a glassbox of flowers, then a strange figure, nude below, some sort of covering above

ass 94then there is the signature piece which is the Bourgeois type polymastic monstrosity with a gash for a vulva on top,

ass 95this in close up, but seen just in passing, all but a view of the intimate female anatomy from behind

ass 96as is common (it is common for the dream truth shot of a movie, seen by ophthchthony, to drop in the truth like this in a movie, so here admitting that it really is all about vagina, and all that; it may be that the encounters with the mirror room were arrayed in triplicate like the shocks in a figure-eight nightmare sequence, the audition that is won, the torture that is committed, the transcendence the is gained, the visual quality of which is also, possibly, ophthchthony, then, this below, to be the dream space below, the surrogate REM space, where the movie sees through into its truth, but….I don’t know).

And the Bourgeois it is taken from

ass 97

but, since this image seems to try to figure out into intestines, or a sex act, below

ass 98I think it also might have incorporated a figural oomph from Nature Study

ass 98

There are also other body parts, feet, perhaps a dancing trophy of some kind, or a votive, focusing on the red toes, the flowers also relate to performance offerings, thus, all of these, in fact, trophies

ass 99the above looks like, with a tinge of color on the toes, a Magritte, the feet, even toes, being more important than what covers them

ass 120

then a few more heads, clearly more like portraits

ass 100even some sculpturings or imprints of knees

ass 101there are also death masks, as she reaches in for one of the gatling hooks

ass 102and so while Sara is viewing “art,” she is a bit unaware of the fact that she is really reviewing magic objects with a measure of agency to perform functions in the service of the coven (at the end, Markos has to rather unnecessarily says that this is “really happening” and it is important, it is not just “art,” well, that’s a statement of agency, and also echoes on Rosemary’s plaintive cry, “this is really happening”, but here Sara does view it as art, and does not see the spell in them). There are trophies, the portrait busts, maybe the flowers; there are votives, maybe the knees, if a surgery corrected a problem; there are talismans to control, the Bourgeois piece obviously related to what the witches did to Olga, and then to the partly dismembered figure in the Woodman quote in the dream sent to Suzie; they might even be special binding objects to keep figures like Olga down for good, through the agency of this figure; and there are also apotropaia, weapons, the hooks, even, magic objects to empower.

It could, therefore, be stated in a general way, because they did go through it with some speed, but, still, searchingly, that this is the object-oriented engine-room of the whole effort, the kunstkammer-as-talisman-treasure room, as at the core of a Greek house, the place where the power of the house is magically, in the form of objects, kept.

But, then, it is to be remembered, we are in a horror movie, here, and dealing with witches, so it is not as “positive” a space as it might be otherwise. That is, insomnia does not by any means always lead to the night mirror. In fact, insomnia can eventually give way, but all you get this time out is the ruination of the dream space. It is as if all the mirrors are cracked. There was, in fact, a cracking mirror in this movie. It happens in Suzie’s first dream

ass 121When she is discovered masturbating by her mother

ass 122And gets the iron to the hand for it, needless to say a body traumatizing event.

ass 0002If, then, it is only the negative fall-out from insomnia that seeps down in, then you get the form, but not the movement. I also have had bad nights of insomnia that did not lead to the Night Mirror, but simply left the echoing effect as a quivering of a body. I was thinking of a young woman, the impulse of the setup was that somehow it would end up with sex. But all the echoing could get me is lying next to her, quivering. It was informed by night mirror impulse, but none of it activated, like a dud firework. So this also leads to the space where Sara at the start of the dance discover the depleted bodies.

Later they bring Josef in by the kunstkammer door, this implies that there was a back entrance, or a separate entrance to the house which was for witches only. It also brings Josef in under the portrait. He is to serve as witness, he is a depleted form.

ass 124The portrait, it should be noted, is a double portrait, Blanc with Markos

ass 125But, importantly, it is framed elaborately with voodoo intentions.

ass 126I suspect that the hair of coven members are in the frame, making a physical connection to the picture.

ass 0003In cult studies, this is a kind of ‘inosculation’. That is, devotional inosculation involves all the ways in which devotees touch images to get some of their magic power to rub off on them. When it does, that creates an inosculate relationship between them, for better or worse. We have seen before that the coven members are conjoined as if by a series of deputizations from the head down to the lowest member (the snake metaphor mentioned by Kier in the original, here worked out as a structural principle). It is hard to work out the gradations of rank in the coven, but we have seen familiars, voodoo doll persons, and sent-dream persons. Josef is a witness, further on down the chain, but he is brought in by this door because he has a coven purpose. I would place an inosculate somewhat down the chain of command too. Caroline gave part of herself to improve Suzie, and I think that physical sacrifice of self for the group leads to her, after the sacrifice, being from then on out an “inosculate”. When two trees grow too close to each other they inosculate, the conjoined trees are then called “gemels,” a take off on gemini, but a term that I think overemphasizes the twinness of the final result, when it is the process that counts for me. Thus, a ranking emerges, head, matron, repetiteurs, inosculate/gemel, witness. Members exist in fact as a snake of chain-reaction, physically at the ready to conduct any magic done by the cult from them out into the world. But it goes without saying that, just as twinfire is a terror to singleton audiences, any such sacrifice for the group, in this day of age, would be reprehensible to singleton supremacy, which might be why, for example, dargis just thought it all sadistic.

But Sara now has knowledge of the secret spaces, and when she is upset about something at the start of the dance she goes off again and finds yet another webbed hall in the hidden part of the building. This is when we find out what happens at the lowest state. She finds, this time, horrifically, Patricia, or what’s left of her, or beings like her, and it is certainly one of the oddest aspects of the spells of these witches that they can cast a spell on a person to all but kill them but then keep them in control as still but barely living, in a prison, and this is what she encounters, this is particularly terrifying, and somehow was meant to lead to more

ass 104if these are objects they are kept down and bound in the state-in-between that they are in, by the kunstkammer objects, which are in the same nature. That is, when this spell is done to them, they become fragile bodies, useless bodies, this is not just a literal degradation of the human body, it changes the human body into the art or sculpted body, where its life is in its representation and is sustained by the rest of the persons in the coven. That is why they can live, even if without any support of bodily needs, they do not depend for their life on their physical functioning, they are locked images, grotesques, with no more reality than this sculpture, which nonetheless has the job of binding them.

ass 105These bodies are neither nature nor culture; they are both, entirely unreal, in between. And then, at the lowest level, they are punished or physically destroyed members who nonetheless continue to live because they are part of the inosculated whole (not only because they are works of art). If the overriding purpose of every object in the kunstkammer, whether or not they are apparently cult, intercessional, votive or apotropaic, is to inosculate, then that creates a push-pull in the objects that make of them magic tokens controlling the life of the related person in the cult. In a recent post I mentioned the press release for an exhibition of work by two Czech sculptors and they dug up the original meaning of the word “entomes” to describe their sculptures,

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this being entomic sculpture (which would, in sequencing style shifts in the recent market, replace wriggling sculpture, with a new more extreme, or perhaps recombinant form, entomes)

ass 107

I will call these beings they have here, with some life, then, but for all other purposes, dead, that are pulled into pieces by psalliction, the universe pulling things apart, entomes. The push-pull in the art is apparent. For example, in this work, it can, ostensibly, be seen as a Louise Bourgeois type celebration of feminine power

ass 105It is both Bourgeois

ass 98

And Olga (this link also making a connection to the mirror room)

ass 127At the same time, that inserted vulva implies that someone is trapped in there. It can, that is, just as easily be a physical talisman which supports what was done to Olga, and an icon of where Olga is. Since Olga was beat entirely down, I will still call her the lowest level, found by Sara in the other room, an entome.

This also means that the above kunstkammer work is a two-way work of art, referring both to the coven as a whole, everyone inosculately conjoined, and to what happens to you literally if you rescind on the pact, you end up like Olga. For that, it might be that all works in the kunstkammer are two-way, and that this particular kunstkammer is a variant of what I call the Strange Picture Room, where the forces of the movie form a nexus to do battle and make exchange. Formally, the Strange Picture Room is situated in the luor, in the in-between nexus space between waking and sleeping; this might be an evil form, exploited for the purpose of controlling all the members of the cult. At present, then, a sub-strange picture room formation.

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All I can say as to where this other hall is located is that somehow this is a little corner of entirely bewitched spell space in which they are locked entirely in spells bound forever to keep them. They are a part or element of what in another note on Hereditary I call pseudo-ophthon-chthonos state, the inverse kunstkammer (acknowledging, though I have not worked it out yet, to be controlled by a witch is different than being controlled by a demon)

ass 0004 1

So, they did work out the “under the bed” (coming up to the lattice) zone pretty thoroughly.

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Finally, we come to stage eight, moving up through the body. This is presented in a somewhat mixed way here. In one scene, Suzie comments to Sara, asking about a strange sensation, Sara warns her, unsure of how it was even possible Suzie can suddenly jump, they haven’t asked for the bill yet, but Suzie complains that when she was dancing, in by far her sexiest floor work, butt in the air, entirely exposed

ass 61almost orgasmic, out of her control

ass 62that, for the first time, she felt some occult pull on her, a spell, a touch, a desire, and it was Markos, in this movie’s only involving presence in the life of the coven. Unlike in the original, she was hid in a closet and let listen to the dance and she rose her hand up to touch under the floor to touch Suzie and feel her heat and sexuality. That is what Suzie felt, and this is a pretty darn good example of the space coming up through the Night Mirror, indeed! The thing under the bed, but in this case an under the bed thing in a chamber of mirrors seeking to come up and have her.

ass 63This sequence is more or less reprised when Suzie comes back from an outing, and, one by one, drops a trail of her clothing through the corridor. In her room, we finally get a glimpse of the “bride stripped bare,” that is, Suzie, aware now that she is someone else or more.

ass 130there is an attempt to symbolize this rising up, this coming through the body through ectoplasmic lights, like dreams, that lead her, psychologue-like, in and down.

ass 131but, here again, this movie goes down (though perhaps up to consciousness). After this point, in my view, the model breaks, as the “song” of the night mirror brought up does not in any way correspond to the spins that preceded it.

ass 132Somehow, some grand finale was originally planned, to end with the dance, and it not going right, and then something else happening, and the whole thing coming out into consciousness. But, somehow, in the filming of it, they could not get out of it, or make it work. I still think that the movie needed to be, having set it up, resolved in the space it had already created, and in the instrumental tranche or mis en tropae of dancing-based evil witch voodoo. Something had to transform the kunstkammer, something had to then change the mirror space, or expand it somehow; the magic of destruction had to be something like the attack on Olga, but in a completely more magical context. In the model I have laid out here something had to climax by rising up out of the Night Mirror, coming up through the body, as the final crescendo, when, for this is the last stage of the formation, whatever was being sung or stated you pull it up out of the dream and wake up with the song in your head.

But, here, they suddenly jerk the movie back down into big shrine space, unrelated to any previous space, with too much nude dancing and too much blood; and then there is a demon of no clear derivation wandering around killing those who voted against Blanc; and Josef stripped to witness, not even shown being stripped, this entirely breaks the movie off, I think, out of actual hypnagogy into a production exploitation space, where actions are straightforward and on the surface and not at all of the hidden language or code of the coven at all, in my view a daimos ex machina which was concocted at the last moment because they simply could not figure out how to end the movie they had so beautifully worked out in spell space in the dance academy. Thus, then, I think that Suspiria (2018) was overall, in its dream formation, a Night Mirror movie, amazingly so, an entirely different hypnagogic space from the glass onion hypnotism of the original (or maybe the same, but somehow entirely reworked) which only at the very end lost its way.

Suspiria (2018) and the “night mirror” dream formation of the chamber of mirrors. Part 1.

Rev., Feb 6, 2019.

In delving into the tangled web that is Luca Guadagnino’s Suspiria (2018), one has to start simply, with the simple metaphors and obvious tropes. There is, however, for that, a good lesson in such simple treatment. Most of the time, we are educated to watch movies for the story, and character; we also read them on the surface, we also partition our sense of this being that, and that being that, and we move right along, not really putting things together. What we never quite get is the ultimate relational-agentic principle that once a metaphor is found, then everything is a metaphor of that, ad infinitum; and the same with symbols. Though mirrors are one of the oldest and well-worked tropes of all horror, they play a remarkably big role here. They also play a central part, as the mirror chamber becomes one of the primary vignette spaces of the movie. This also means that all other scenes are reflections of others, and that the subplots and apparent nonsequiturs or unrelated of the movie are, in fact, mirroring devices to fold into the story the convergence of the Three Mothers, in three sectors of attribution, the path of sighs from Anna Henke though her memorialist Josef, then representing Patricia, and, finally, being enlisted by the coven, because they know about him going to the cops, as the “witness” of the ceremony (I will say what I think that witness is, in a bit). Then, Suzie represents a full movement of sighs in the world from when she was haunted by Germany in her youth, that is, had a restless spirit, and then as she is brought her through the dying sighs of her mother to assume the role here of Mother of Sighs; and, finally, Blanc, representing the troubles of the school, wanting succession, but to be overpowered in the end. Each of these draft zones, if you will, placing sighs at points around the globe, come up into the working out of the present. In that way, everything reflects everything else, it is a hall of mirrors.

Indeed, there is a shot early in which Suzie in the hall, just arriving, sees and looks at a mirror, making an mis en abyme image with another mirror

ass 1then she is introduced to the mirror chamber, told she shouldn’t be here, then deprived of her music, and then has to have the audition that way.

ass 2Blanc is off teaching the other girls, but, oddly, Blanc hears the panting of Suzie through the walls, so, right from the start, sighs, and a strange sense that the right girl has arrived, to save the coven.

ass 3then, Suzie goes into her spin, and, again, most movie watchers, just watch the movie, so see the spin, take it in, but do not see it is a kinetic symbol, spinning at the center of the movie, an announcement that meaning here is being developed in 360 degrees, as Suzie’s gaze goes left,

ass 4straight on

ass 5askant

ass 6aloof, forlorn

ass 7then there are pure spins, the space around, a blur (this is a common device, but as a trope going way back, see The Phantom of Crestwood, is signifiers moving through time or space in a meaningful way, in a way that changes the nature of the time or space, and alerts you to pay attention on a new level, which, of course, most movie reviewers did not

ass 8And then, she is spinning, but now seems to see out of it, out the other side of it, there is a new presence in the room

ass 10and it is Blanc

ass 11then she is done

ass 0Blanc admires, and she is in

ass 12so, right away, the mirror chamber, she excels in it, has the spin required, and it is implied some sort of power that the coven could use, so she is in. This happens in the mirror chamber.

Later, on, there is another dance session, in the main hall, where she is introduced, there are mirrors there, but not in the same way, this are just mirrors, not a mirror chamber, or hall of mirrors, meant to create a mis en abyme

ass 13at this point, she witnesses in-group political trouble, an unhappy dancer, Olga, the second we have heard of, early, and she has a fight, then quits the company.

ass 14as she runs off she calls them all witches

ass 15earlier, we had seen that the movie took full advantage of the scale of the mountaintop hotel in Italy that they filmed the interiors at. This is the classic spiral staircase trope, and it means the same thing here, as it does in a thousand other movies, we are going down the spiral, whooshing into a dream world where one will not know what is what. It is not entirely clear to me at this particular point what level of dream imagining we are at, but I have in general located a chamber of mirrors as the embodiment of the glass onion, but I also have other ideas, which will be raised, but this signifies that all the space in the building is in many ways a reflection of the mirror chamber

ass 16what this means is that the witchcraft that the witches have, because, of course, Olga is correct, can be conducted, by them, throughout the whole building, the building as a whole, even as we begin, is already in their control, it is an exploitation space, a pool of spell, inside the adjunct spaces, already controlled by them (whereas in Hereditary we had to go through the whole process of the home being converted over into a spell space). So, now, Olga is storming out, she is on the stairs, that’s it, she’s leaving

ass 17but, then, back in the dance hall, things “getting back to normal,” in the post-Olga world, something miraculous in its own right happens, Suzie says that she knows the dance, she can dance the lead, Blanc is highly doubtful, “we had to rehearse this for ten months before we danced it”, she says, but Suzie insists, so, she is to dance it. But now the interesting thing is, Blanc is not only thinking about Suzie, she is also thinking about Olga. While she is surprised and glad that Suzie has this skill, to provide an immediate solution to the problem that Olga dropped in her lap, she is still angry at Olga, and, on behalf of the coven, fearing that Olga will divulge their secrets, she needs to get back at her, and make sure she does not tell. For that reason, at this point in the scene, the whole scene turns into a casting a spell. It starts when Blanc grabs Suzie’s hands in a very peculiar way, sticking her thumb hard into the center of it.

ass 18when she takes her thumbs away, there is a certain something, perhaps just a sweat mark, but it is almost as if Blanc has anointed

ass 19it is hard to say what this is, but it is most definitely something.

ass 20then, even stranger, she crouches down and does the same to the insteps of her bare feet, also in some ways plausible due to the fact that Blanc’s occult manner does serve as a walking beglaubiggungsapparat, so Suzie pays it no heed, it is just her dance ritual hocus pocus

ass 21and, then, even stranger, Blanc bows down to her, with her arms out, her hands lax, as if to accede power to her, to give her the floor, like a backwards bird, this too, Suzie is free to interpret as some sort of elaborate dance floor ritual that she just doesn’t know about yet.

ass 22but it is certainly quite strange that she backs off from Suzie without turning around, as if to not look back at her, and as if to get away from her as soon as possible, like a bird too, taking flight, but backwards

ass 23then she and Tanner stand either side of her, to clear her out, to give her the floor, as if to declare the edge of the spell space, and so, they close the circle on the spell. A word. I did not pay it any attention, as it must be a defensive aspect of magic that we are just not meant to see or know of, but I did pick up in The devonsville Terror (1984), that real witch magic is carried out inside a sacred circle whose janus purpose is to protect all others from the spell, or to conduct it in a certain way. I am sure, this is what is going on here, this squaring off, makes the space a spell space, and everything she does in it spell-cast

ass 24I also noticed that the anointing of the hands and feet is accompanied by this shot of what I guess is a human familiar, but the purpose here is not unlike that of the witness that we will hear about later. Her presence records the magic, as if a secretary, but, in doing that, she externalizes it, and, thus, by her reflection on it, in physical space, her presence brings the magic out of itself by ostension into physical space, for its voodoo to take effect (she is a curious figure (almost an ill-formed Blanc).

ass 25as these preliminaries are going on, Olga must be got in place. She is on the stairs, several shots in the movie made it clear to me that this is meant to be an elaborate carrier of glass onion sigils and symbols, to work magic by, that is, the space is very conductive to spells.

ass 26and, suddenly, as if ambient noise from the whole building, fed down this spiral, but, really, magic incantation, from elsewhere, flows in, a group of women come in, then one of the other witches of the coven, whom one would not think was involved in this, but they all work together, she stops Olga and stares at her, asking her if she is ok. But she does his with a close-up of her eyes.

ass 0 1Olga immediately has trouble seeing, this is an eye spell, to blind her, so that she cannot find her way out

ass 28and it is implied by this shot, that this “familiar” girl is the medium, that is, the human voodoo doll, whose four eyes problem is transferred by a spell, cast over the whole building, on Olga

ass 29for this reason, Olga is easily detoured into the….mirror chamber (where it is, vis a vis the main hall, is not entirely clear, she goes down, then around, then down a hall, in). Earlier, Blanc was looking up at a sound from it, but that might’ve just been the panting became ambient in the larger building. It looks to me that it is below, in the belly of the beast, as it were, at the end of this utility hall, an out of the way, but central, secret place.

ass 30once she is in it, and realizes where she is, though she is blind, she is in despair, she knows that, somehow, she is in the belly of the beast

ass 31and then Suzie begins her dance, and, then, unbeknownst to her, her movements cause Olga to have violent bodily jerks, to maim her.

ass 0 2and, as pretty much every review of the movie noted, Olga is destroyed by Suzie’s dance. But, how? is the question, and a lot of reviews simply did not understand by what process this was done. But it is easy, this is body voodoo, every act that Suzie makes, every move she does to herself, causes a like movement in Olga, but while she does it to herself in a routine with full purpose and intent, and full control of her body, on Olga they hit like strikes out of nowhere, here body unprepared to handle it, and they tear her up. This is body voodoo, Suzie has been turned, by the anointing and the squaring off of the witches, into a voodoo doll, injury to which is translated like-to-like to the person for whom the voodoo is directed.

ass 32The scene goes on for quite some time, it is brutal, she loses control of her body, she is reduced to a pulp, puking and peeing, because the dance Suzie has to do is so brutal. But I note here the hall of mirrors effect, to emphasize to us what is happening, that a spell is being cast through the mirroring, onto her, as if in a mirror to Suzie. This shot also reduces the materiality of the space, indicating that Olga is now in another place

ass 33Then she leaves a mark on the wall, indicating her reduction from a person, to a thing, a mark, an index, nothing left

ass 34and then the shot pulls away from her, focusing on the floor, reminding us what did this to her

ass 35and we return to Suzie, sweating up a good sweat, almost triumphant, in any case, proving that she can do it

ass 36but she even reports that she felt dizzy and like she wanted to throw up, so if she in her mind does not know what she has just done, killed someone, or rather, they have killed someone, through her, using her as a voodoo doll, every gesture slash of her a stab or punch administered to the victim, her body does know, she is sick, she was successful enough to get the part, but also had to register that her body senses that something fishy was going on.

ass 37where are we, hypnagogically? Well, it is not easy to say. In fact, most viewers of the movie will think we are only in regular old conscious life, waking state. But no horror movie is, in fact, filmed in that space, and we have had enough of spiral stairs, and mirrors, and magic encounters, and surprise events, to strongly sense that we are in spell space, which is, at the very least, a vigilogogic space, and, more often, a hypnogogic state. Later, when they are much more attuned to each other, and, in fact, Suzie is being groomed for some nefarious purpose, they find themselves once again, in the hall of mirrors, alone. Blanc is still concerned that Suzie is not getting off the ground, she says that each jump must be seen as a coup de foudre, or, Suzie asks her to translate, a strike of lightning, that’s beautiful, Suzie says.

ass 38Blanc once again touches her, and says something inspirational, then there is a curious shot of her hair, as if, this time, alone, she is using her body and its qualities, her long hair, to lengthen the space for Suzy to jump in, to make her more buoyant, so that she can jump higher, and, then, to Suzie’s surprise, she does

ass 39I could not help notice, as she jumped, the shots were of the Hanged Woman type, they also were backdropped by the fullest misen abyme scenario ever, going back infinitely, indicating conquest of space (Sara later voices suspicion)

ass 40this also suggests that by a spell, in spell space, for the second time, a spell was used here, this time favorably by Suzie, to get her to jump. The outsiders think that Suzie is picking up the spells because she senses a lot, as they talk to each other in “shining” manner in the restaurant, casually, they mention that they all see it in her, her shining eyes, so, that is part of it, she is receptive, but the spells are still being cast by others

ass 41but, still, work has to be done, earlier, when she is doing “floorwork,” and expounds her belief in floorwork, and that she feels best when doing floor work

ass 42Blanc get all but Apollonian, talking of Apollo who Shoots from afar, arguing for the need to get her into the air

ass 44they have a bit of an argument, but Blanc will win, she asks the other girl, a very masculine girl, Caroline, to come show Suzie what she means, a good jumper; but, here, in this circle, it is almost as if there is reverse magic at work, she gives herself to improve Suzie, in the circle, then, immediately having done so, given part of her skill, she has an epileptic seizure (just as Josef will have a seizure at the end).

ass 45later, the other familiar, who helped with Suzie in the dance voodoo or blinding curse, either regrets how she was used, or is magically spent, by reverse voodoo onto her, so she stabs herself, that is two students who assisted Suzie in the magical circle, both gone, sacrificed.

ass 46soon after the first talk about needing to get her into the air, Blanc “sends” her a dream, to influence her, to fill her mind

ass 47the imagery is about releasing herself from her earthbound self

ass 48burning her body away to a state below the floor, even, beyond her love of floorwork (with an echo of Olga’s amputated form here too; these images lifted from a Francesca Woodman photo)

ass 49to go beyond lungs

ass 50and sexual desire

ass 51to climb the walls

ass 52to suspend one in the air (though this looks like an upside down hanging, not sure the reference)

ass 53to stretch out one’s limbs, I think that this is what this is, the fingers over are elongated

ass 54to scratch away materiality

ass 55there are other magic gestures to make it work

ass 56and I do think the girl pictured here is Caroline, the one who sacrificed herself in the jump demo, so now the dream is completing the draining out of her and passing all that over to Suzie, so this “sent dream,” which is a very strange category of dream, is also yet another work of voodoo, this time Blanc to Suzie.

ass 57So, lightning strikes of jumps must take place in a chamber where she has somehow broadened out her vertical variables, able to go deeper in the floorwork, and higher in the air work, making of it a bigger space, that is, an infinite space, a chamber of mirrors, and all of this taught in a chamber of mirrors. So the question, again is, where are we? hypnagogically? See, Part 2.

Hereditary (2018) and the dream structure of a failed attempt to defeat evil, Part two.

rev., Jan 12, 2019.

I have previously argued that the nexus between waking and dreaming, vigilogogy, which is the waking state one is always more or less in in horror, and hypnagogy, light sleep, in the movie Hereditary (2018) is manifest in an adjunct space, and not in the core. This is because the movement is spatial, even though the fact that it is primarily Annie-driven kept it close to the core. But, still, it is in the space, not inside her head. Now, the last shock of the movie, which is so surprising, is how quickly she flips, that is, she has had the great eureka, that usually clears everything up, there is no more haunting, she, the hero, runs to the coven or whatever and she wins. But not in this movie. She now moves back UP through the lattice space, to discover more horrors, all of this now much more clearly in the controlled exploited space of the witch coven, which she is now controlled by (as is Peter).

her 67and in this lateral but vertical movement, the movie again shows it large scope conceptually as she is now going to move up into a new space, where she will play an entirely new role, though not a good one, but for real, and for the rest of her life (ending that night).

It is amusing to me that they situated her entry into the lateral vertical space, for everything now to flip upside down, hypnagogy to vigilogogy, with one of those pull-down stairs to the attics that they used to have in old houses. We had one in 2212 Kensington, it always creeped me out, even more so that its entrance was situated right next to the door to our room, as if, by being placed on that side of it, we were more expendable, if some trouble should come from up there. But, here, where is she? dreamwise, she has splatted, that is, been shocked out of herself, by what is going on, we THINK she is just now continuing on her journey to discover and defeat the evil, but, no, she has splatted off to the side, that’s what happens when a search for Ophthchtony (seeing through the darkness), dream truth, fails, and she splats off to be situated in an adjunct space which in this movie they keep within the confines of the hypnagogic. In my system thus far if you splat right into a black out you are in Chthonos (darkness), if left into a white-out you are in Ophthonos (seeing), but since she splats to the world of both, a conjuring world where SHE is now as if going through the motions of moving the conjuring forward, without knowing it, I place her as going into a kind of trap, which I will just call, combining binary prefixes, Chthon=ophthonos (darkness with apparent seeing), a splat lateral space, WITHIN the confines of the hypnagogic, but, locked in deception, controlled by a demon. She thinks she is moving forward and out to the saving, but a lot like Captain Howey in a movie I have compared this movie to, the Wicker Man (1973), she is unwittingly moving up and into the cult

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Chthon-ophthonos is a silo of deception, moving upward back through the adjunct spaces, eventually through the nexus space, to find, at the verge of reentry into a new life in vigilogogy, the final secret. Since it is bracketed, and not in parenthesis, it seems best that I call this particular version of it, Pseudo-chthon-phthonos, that is, a false place, controlled and exploited by ambient or sentient demons. It is, in this, also characterized by the extra stress of, say, gravity, in that, oddly, the movie starts having her and everyone else move upward. This zone then is more packed in, blinded, less wiggly-roomish. In fact, it is pulled upon by an Ambient and perhaps even Sentient force, which flattens out its levels so that plus-minus, good-bad fade into one. The Ambient pressure is now exerted because the observation of the ritual has begun, the cult has invaded and taken over the house, everyone in the house from this point on is a pawn, being “turned’, as it were, as a spy is, in the house. This is represented by the emergence of the old nude people, closing in on the space, and, in a shot later, see below, even surrounding the house and the walkway up to it, signifying that it is in their control. Furthermore, there was the voice used at school, the cult members crying from across the street, “I expel thee,” and the odd fact that Charlie and then Peter both hear this tongue-clicking noise behind their ears (Charlie makes the noise, Peters hears it from Charlie’s spirit, I think). This places Paimon somewhere out in the outer darkness, beyond the movie (since most of the movie is situated inside the hypnagogic zone). It is the “pull” on the whole intermediate, adjunct, upward trajectory space of Pseudochthonophthono (fake darkness, trying to see in) that makes it, at least in my thinking, a new space, and a space that very, very few horror movies have ever gone (again, I think of The Wicker Man). It is this pull that results in the delirious almost unpredictable zero to sixty spins in Annie’s character, as, shockingly, after she played the part of the mother putting up the good fight to ward off evil, she is taken in too, and completely reverses herself by actually being the agent of the cult in destroying what is left of her family and delivering Peter to the cult (she ends up as well with her head cut off, to signify that she had lost her selfhood).

Another thing, this creates a special, queasy, disorienting air to this particular adjunct space climb. Most of the adjunct spaces I have mapped out have been from above to below, though the central core has seen upward movement. This atmosphere then is, if exploited, that is, not agentic, not, in fact, hypnagogic-adjunct, but an exploited form of that, the exploitation coming in from Ambient and Sentient zones, therefore, daimonionic. Daimonion is the voice that Socrates said guided him in his life, it told him not to do things, it was, then, one scholar writes, apotreptic, that is, preventative; there was no comparable voice telling him to do evil things. Much has been made of this discovery of what is essentially conscience, it is the beginning of self-determined man, said Hegel, freeing man from Sittlichkeit (customariness), but Socrates kept it at a pretty simple level as just a voice. As a voice, then, it is Ambient but also Sentient; since it comes in on him through the ear or from a place inside his head where ambient spins occur, this is a haunting voice. It scares him into a thought of consequences. I will argue at present that the pseudo-chthon-ophthonos zone, and that any carving out or hollowing out of hypnagogic or vigilogogic state is daimonionic in nature, and that a daimonion, an agent of external force, closing in on him, in Sentient space, is in control, a daimonion, which I define as a foreign agent who achieves its ends with no agency, from a Sentient source.

As to this issue of no agency, Burkert writes (Greek Culture), “daimon is occult power, force that drives man forward, where NO AGENT can be named. The individual feels that the tide is with him, he acts WITH the daimon, syn daimoni, or else when everything turns against him, he stands against the daimon, pros daimoni.” As a result of being the veiled countenance of divine activity, the daimon has no image, and there is no daimon cult (two facts that modern horror rejects). The daimon is that part of god that eludes characterization and naming. The daimonm therefore, has uncanny power. One other thing I like is that it is by naming, giving names that are impenetrable and have no derivation, that the Greeks gave special power to their gods, by word alone. The striking name enhances individuality by its inexplicability, which is equated with its character, and uniqueness. This posits an entirely nominal presence for a daimonion in the working out of agency, its presence, here, however, makes whether or not one is working for or against oneself or the daimonion, irrelevant, one is caught in its space, which is exploited space. Arguing from this, a daimon takes over where there is no agency, and makes the person a pawn of an occult agency, to act against even its own interests in the interests of some cult or whatever, usually driven, as here (SATONY, ZAKAS, LIFCOAH, etc) by inexplicable names (and my space names are concocted based on a simple “opthon”(seeing) and “chthon” (darkness, earthiness) binary wordplay).

This is, in my working out of things, a “new” space, meaning that I have not yet mapped it out. It is also, for a horror movie, a very rare space, as usually the movie resolves itself after the third nightmare ephialtes with ophthchthony (seeing through the darkness) drive. But, here, we seem to get to something like that point, then, the movie keeps going, on into another, upward moving, revolving, indecipherable, daimonionic space, where Annie loses herself, and her family, and Peter is crowned host of the daimon the cult worships, Paimon.

So, in going up this time, into the attic, she finds her decapitated mother, removed from the cemetery, which Steve did not tell her about

her 69and there is a symbol of Paimon, paralleling the three heads he like a good celtic god carried on his belt, and these are the heads of the mother, Steve’s, and Charlie’s for all of them to have to be killed to bring on Paimon in Peter.

her 70the really amazing thing to me here, writing this, is that the sigil of Paimon, put on its left side to maybe occultly give it more power, not only includes in it the three heads of the family members thus far, but it is also maps out–and I am not forcing this, I did not see it until just now–the three loops of nightmare, which ought to have lead her to ophthchthony, but she splatted out to an adjunct embrasure, and she is now to climb that. So while the movie in general knocks the bottom out of one, for me, here, it kind of gobsmacks me for it seeming to entirely work out the truth of the triple-loop figure eight structure of dreams in movies! (which I will study in more detailed treatment of the dreams, in another piece)

her 0002And then the extensions on the right, reaching out past the first line, into Ambient and even Sentient space, are marked as well, with a few flourishes.

her 72those representing the pull

her 73


I could make a stylized version of the triple loop dynamic, first, the original nightmare; then, the sleep paralysis one; then, ophthchthony, in THIS case, by this demon, failing splatting out to an adjunct structure, as in the sigil

her 74

and, then, not really knowing any more what side she is on, she has to have her husband see everything. She takes him up to see the body, to shake him up. He is shocked, it is real, he remembers the call he forgot, then he thinks she stole the body, then she impulsively, in her crazy mode, takes him downstairs to the fire place to burn the notebook, but she apparently forgets that the house is, as it was when she tried this, now a taken-over reverse space of backwards, recursive magic, controlled by the cult which she is climbing up into, so she doesn’t realize that she is simply carrying out the task, not believing herself that she is doing this, of getting rid of his opposition, done in front of a landscape painting which I sure wish had been one of those pictured in her faux ophthchthony

her 75she is, however, in this, implicated, one gets a sense that she is now “playing” the crazy part, in an all but frantic automatic manner, and, sure enough, when he sensibly balks, she takes the notebook and it is she who throws it in, she is also the one who put the lighter fluid on it, to make it work, and when in horror she watches

her 76there is another one of those rinses of spiritual possession light, it passes through her,

her 77and she instantly changes over to uncaring evil, go to hell blank face, the dead eyes of the world

her 78I mentioned in a post this morning on FB that it was a sign of witches having taken over nature that the day night shots were so turn-off-turn-on-the-light artificial, that is, natural made artificial by witches control, and then someone pointed out to me that in this dark shot you are supposed to see, I did not, the nude witches taking up place around the house, not a new trope, like in Void, etc, but wow

her 79the fact that they are nude leading up the walkway means they are creating a pathway to the meeting of the coven, and guiding by restraint all of them inside in the right direction. The path also leads up, and in this shot they are all Conjure Figures, that is, phantoms of a light stage of hypnagogy, things seen out of one’s peripheral vision, uncertain what they are, it even MEANS something that I did not see them, they signify now, here, to me, that we are going up into the flip space, to flip dream over onto life ever after for the family. As a group, they represent as well the pull or push of Ambient power from without, circling around and closing in on, like the shot of heads circling above, the family and the house, foreclosing upon it

her 79this is entirely properly staged to my model

her 81

We then have to swing around a bit in an annex spatial extension to have, now Peter, see it all, and experience it all. At first, he misses one, he does not see that the light in the tree house is not the heat lamps but another light, he just misses that one

her 82note that when he comes down to see his torched father, his hand up like Peter’s hand was bent up in prophecy of this moment in school, the model house in the hall on the hall table plays the part of the approaching Nexus Room, in which the great turnover will take place.

her 83he does not sense Annie up in the rafters, watching him, clearly, in order to do that, by this point demonic

her 84then when Annie chases him back up to the attic,

her 85he sees the same space in which the mother was laid, but now he in picture voodoo form is laid, in a silhouette made all but Ana Mendieta as a removal of dust and ash to make a negative space effigy of him, with his picture to enchant it, also notice the candle to give him a large phallus

her 86his eyes are removed to make him someone else, to ease the transition in his body (we saw his eyes X’d out in Charlie’s haunting notebook)

her 87this is an effigy, a victim or sacrifice representation of self found in the Village of dreams part of the entoptic zone; but, here, occultly experienced coming up, it means that at this point he has in fact of the magic been dissolved to that level of materiality, his soul has been removed from his body, so that he can serve as a vessel for the change, he is half dream, half reality, a two d representation of himself.

her 88

the previous graph having anticipated, in maybe the most horrifying scene in the movie, Annie ends up presiding over this vision, this rehearsal space, informing him that he is about to be changed, by acting as the Hanged Woman, and she is held aloft by magic,

her 89as in Goya

her 89

And in the Witch (2017), taken from Goya

her 00001She seems to be stabbing herself to death, but she is PULLING back and forth on razor wire, she is decapitating herself! (even after you have seen this shot, in a previous viewing, it still makes you flinch, seeing it again, it has a triggering power, like a visual trauma)

her 91As we later see she has no head, she is the final sacrifice of the family (so her, not the mother), the third head which had to come off, so she is in her presiding making the magic happen, moving it forward, her decapitation the last thing that had to happen in that house, which the grandmother controlled, the final uncorking of the cap of a bottle of wine to get things to the final stage, and move us into the gap

her 92And then Peter gets a look at some old tits and an old cunt and an old dick, and, as we know going way back to Rosemary’s Baby (1968), nothing is more frightening to the young than the old sexual organs of old adults

her 93yep, full frontal nudity, it sends him right out the window

her 0003then, though it seems he would have died, a spirit comes through and revives him

her 95that finishes, then with the house in a state of pseudochthonophthonous (exploitational darking trying to see in) reverse magic to by manipulative conjuring wrangle Annie in to then for her to wrangle Peter in to make it all happen and then we enter the gap

her 96

Once again, I have to ask, HOW do they know this? I have mapped out over the past year that in the entoptic zone of hypnagogy the forms that recur are (imagined as pareidola of blue dots) the Hanged Woman, the Effigy in the Village of dreams (I think I have another name for it), and Conjure figures, and in moving the movie through its last engagement with the house, through the entoptic zone, out into the in-between gap zone of the Nexus house, this movie has the “visual wisdom” to include ALL THREE elements, in phased disfiguration, working through the scene as it occurs!

Anyways, now we come outside the house, and we are now in the gap space, the Nexus BETWEEN hypnagogy and vigilogogy, that zone where things in a dream are carried up physically into reality. This place I know well, and named it some years ago, this is the LUOR, a low place, at the side, or above, or below, but, the gap space between waking and sleeping where you just don’t know. It might also be that, the Greeks called the hour before and after dawn, amphilucid, the occult power they ascribed to this hour was attributable to their thinking it between waking and dreaming (Garcia).

her 97

we see Annie, now as less even than she was, the Hanged Women in the Land of Nod, this version, now just a headless body, a Gap Creature, in the Luor

her 98she floats on up in, meaning something is going on there, he is curious, of course

her 99the cult nature of this approach, the idea that he has entered a cult is rendered stirring, and evil, by the fact that the score (Colin Stetson’s Reborn) sounds like elements of Wagner’s prelude to the Rheingold–which would relate to the picture in the book she found on Invocations–is fed in, the crashing crisis crescendos in the score, this is quite disarming, but prepares us for a shock, further pulling the rug out from under us.

her 100then, to top it all off, we have Paimon, the demon they worship, a king of hell, a major associate of satan, a very queer statue, the cult figure of the cult, in this nexus room, that is, as the injured young man in Cthulhu Mansion (1992, see previous post), the clearinghouse figure that the movie has been all about from the very beginning.

her 101he looks to me like a concoction of skull and hair, a creepy Jesus, a Jeez Louize

her 102(echoes a bit off the effigy in a very early black and white Jean Rollin movie, The Rape of the Vampire (1968)).

her oooo2and the late queen, whose body is here, headless, presides as the epistatic presence, the aegis, to ensure her power

her 103and he is crowned, and then the movie blacks out, but, really, light-inside-black blacks out, which at present I will take as a typical shot of a place in the Luor, but only coming up out of Pseudochthonophthonos (exploited darkness, trying to see), after Ophthchthony (seeing through the darkness) has failed, and one has splatted out from it, only, in this case, to be picked up in a vertical up-pull by a foreign power and force (this also feels very much like the hidden room in The Ring)

her 104I also want to mention finally that the strange out of the way geography of the movie contributed to its overall sense of falling into the luor. In a broader way, I place the luor as outside of town, a town like the Village of dreams.

And that’s that. This whole last part of the movie, after the usual ending of a nightmare structure, the climb back up to a new reality, the nightmare being turned into a new evil reality, made it a four star movie as, like in the Wicker Man, it completely unsettled one, as I said in a post

her 105

With pictures of related moments, The Wicker Man (1973)

her 106

Twin Peaks: The Return, eps. 11 (2017)

her 108

Olivier’s Hamlet (1948), all btw, four star movies

her 109

I now, by this analysis, argue that he movie was confusing because the drive to gain truth and thus win out over evil was derailed, Annie was taken over in any case, for all her playing the part of the finder-out of the secrets, she got caught up, then Peter got caught up, and the whole last part of the movie is simply, everything they do on screen is in its truth the opposite, like Sgt Howey in The Wicker Man, they were all just acting out their prescribed part guided in exploitation and evil up into the magic nexus zone between sleeping and waking, for the new cult to work its way, evilly, in the world. This, then, is my analysis of a commanding American horror movie, Hereditary (2018), and my surprise that in this case my recent work this year on dream and nightmare structures in movies seems to apply very nicely to this outing.