Kevin Schaefer and Andy Walsh review Silent House, a 2011 psychological horror remake of a Uruguayan film, and dig into its one-shot style and Elizabeth Olsen's tight lead performance. Kevin admits he first watched Silent Hill by accident, which made for a funny start to the chat. They say the movie is a slow burn that builds real tension, but that it might have been stronger as a shorter piece. They give a clear heads-up that the film deals with repressed memories and child sexual abuse, so it is heavy and not for casual chills. They call it well made and worth seeing once for the craft and acting, but not a movie most people will want to watch again. This is the first of four Halloween Drive-In talks on Systematic Geekology about movies inspired by foreign films, and they keep it real and a little playful while digging into the dark stuff.

Kevin and Andy dig into the nuts and bolts of Silent House with an easy, chill tone. They talk about how the film is shot to look like one long take. He points out the tight handheld camera and how that makes the whole thing feel claustrophobic. They praise the editing and the dark, slow build. Both say the middle drags sometimes. The big reveal lands on repressed trauma and a dissociated state. He and Andy unpack how the film uses horror tools to handle a real, painful topic rather than cheap scares. They debate the label "elevated horror" and call out that good craft lives in all kinds of horror films. They also note the film was a U.S. take on a Uruguay movie and that the directors did not become big names after. The summary keeps it honest and simple: nicely made, emotionally heavy, and not a light rewatch.

Takeaways:

• Kevin admits he accidentally watched Silent Hill first, which made a funny mix-up before the real chat.
• They say Silent House is shot to look like one long take, making the film feel claustrophobic and tense.
• Kevin and Andy call it the elevated horror style with heavy themes about memory, trauma, and family secrets.
• They praise Elizabeth Olsen for carrying the film, saying her performance sells the uneasy and unsettling moments.
• Kevin jokes the movie might have worked better as a shorter piece, but still respects its craft and sad subject.
• They note the film avoids cheap jump scares and instead uses tight camera work and slow reveals to explore how guilt and repression can turn a home into a place of fear and confusion.

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Check out all of our Drive-In episodes:

https://player.captivate.fm/collection/25a6e1d1-2c96-40fa-9567-19cb935e46a1

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Listen to all of Andy's episodes:

https://player.captivate.fm/collection/c86f7a67-357b-4324-bf95-e42cedb9932a

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Don't miss any of Kevin's episodes:

https://player.captivate.fm/collection/84fd7d06-cf1f-48e5-b358-09a01c5a6bc9

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SG on Fourthwall

Systematic Geekology

Our show focuses around our favorite fandoms that we discuss from a Christian perspective. We do not try to put Jesus into all our favorite stories, but rather we try to ask the questions the IPs are asking, then addressing those questions from our perspective. We are not all ordained, but we are the Priests to the Geeks, in the sense that we try to serve as mediators between the cultures around our favorite fandoms and our faith communities.

Are you visiting any haunted houses this Halloween?

Hello, this is systematic geekology.

We are the priest of the geeks.

And we are here for another Halloween episode where this is part of our drive in series where we're looking at movies that are based on forum films, so horror films and Halloween oriented movies that were originally based on a foreign film.

So today we're going be looking at Silent House.

And before we get started, I have a very funny story on this episode in particular.

So when Andy and I, I am Kevin Schaefer.

I am here with Andy Walsh, our resident X Men expert.

And when Andy and I were discussing ideas for a movie to talk about for this series, so Andy suggested this film, Silent House, and, and I was like, yeah, cool, that sounds good.

I haven't seen that one yet.

And then I go to look it up and I typed in Silent Hill, which is a very different movie based on a Japanese video game, and I ended up watching that movie.

So when Andy and I came to record on Thursday night, we had two very different films to discuss.

The irony here is that both actually fit into this category because Silent Hill, since it's based on a Japanese video game, it still fits in the theme that we're going here, but nonetheless very different from Silent Howl.

So, so then I ended up watching the correct movie and now we're here.

But Andy, thank you for your patience this week with me.

No worries at all.

It took me several tries to get the name of the film right in my own head, so I can understand there's a lot of overlap with other similar things.

It's.

It is funny because it's like the.

They both fit into this series.

They're around, they're about five years apart and obviously both start with Silent H. But, but yes, two very different movies.

So this one we'll talk about in just a minute.

But I just want to welcome all listeners here if you're new to systematic ecology.

Hey, welcome.

Thanks for checking us out.

And if you like what you hear today, hey, check out more of our stuff like rate and review all those good things and subscribe on our YouTube channel.

I know this is an audio exclusive episode, but we are on YouTube and we've got a lot of great content on there.

So come check us out, tell your friends.

And we really appreciate.

You can also click on the link in the description to hear the full series that this one is in and to find out ways to support us.

So all good stuff, but.

Well, Andy, let's get right into it though.

Can you.

This was your pick.

So can you tell us a little bit about why you wanted to.

Oh, and also I do want to say, before we get into the main discussion, a content warning about this film.

I mean, we're going to talk spoilers anyway, but if you haven't seen it, this film does deal with child and sexual abuse and it's very much a psychological horror film, not your typical jump scare kind of movie.

So just want to put that out there.

But, Andy, can you talk a little bit about what this film is and it's about and why you chose it for this series?

Sure.

So, you know, the story of the film is that a.

A young woman and her dad and her uncle are at a cabin that they are cleaning up to sell or something along those lines.

They're doing work.

It's clearly been disused for a while and so they're there to put in some work to be able to sell it.

And, you know, it.

It is filmed in a very kind of tight handheld style on Elizabeth Olsen's character.

Pretty much most of the time tight on her.

And so we're just kind of following her as she goes about her activities at this house and remembering some of the family memories and family activities at this house.

And then things start to get a little bit unusual or a little bit concerning.

There's noises, her dad disappears, her uncle disappears.

And it's all just very claustrophobic and very, you know, what.

What exactly is going on?

You know, is there something happening, something nefarious happening in the next room outside?

All those kinds of things, but, you know, never any really suggestion of anything supernatural.

It's all just kind of, you know, might there be somebody in this house with me who doesn't belong here?

Might there be something going on outside?

Is it a wild animal?

Is it a person?

And, you know, it just kind of gets.

Unravels over time and gets more and more tense, more and more uncertain and starts to blur questions of what's really going on and what is maybe imagined or feared or hallucinated, things like that.

I was interested in one.

I'm not the biggest horror guy.

And so something that was a little bit more in the psychological horror sounded interesting.

The description of the way that it was filmed sounded interesting and seemed to fit thematically.

I've enjoyed Elizabeth Olsen's work in other films, Marvel and otherwise, so I thought it would be interesting to, you know, that was a good hook to see an actor that I was familiar with.

And it's based on a Film from Uruguay, which is not something that gets featured.

Not films that get featured very often.

I would imagine there's a lot of Japanese films that folks would go to.

When you think of foreign or international horror films that have been remade in the U.S. perhaps Korean films, maybe Italian films or something like that, but not a lot of films from South America on that list I imagine.

So I thought it was nice to broaden our horizons a little bit there.

I agree.

It was a really interesting pick and it was interesting seeing a movie early on in Elizabeth Olsen's career.

Before this she did a film called Martha Marci Mae Marlene, which.

It's been a long since I've seen it, but I did see that in a film class in college and she was, yeah, this and film kind of complements that in a way to this kind of like smaller independent film that where it really shows her acting chops even early on.

But yeah, I mean this was a really interesting one to check out as far as kind of what I thought watching this one.

I did like a lot about how it was made, like you said, the kind of stylizing it as a one shot film, you know, like a where.

Where it's shot so that it looks like it was all one take.

Obviously it's not, but.

But it's kind of framed that way.

That was really interesting in terms of the editing and the cinematography and it has that, you know, build up, like you said.

There's, you know, you're like, is there a supernatural thing going on?

There's that mystery and then it, you know, reveals it as something like really horrifying but.

And then.

And very internal and psychological.

As far as my overall impressions of the film, I thought it was interesting.

I do think, and this is an insult to the filmmakers by the way.

This was directed by Chris Kentis and Laura Lau and written by Laura Lau.

And I think this would have been a stronger short film.

So like a, like a 20 to 30 minute kind of film where you get still the same story and the same execution, but some of the middle ground of the movie and for the end was even though it's not that long, it was just kind of like, okay, I think this would have been stronger with you taking the concept and condensed it a little bit.

That said, I thought it was still interesting.

Not one I'd probably watch again, but there were interesting themes here and well, I'd probably not watch it again just because of the dark subject matter that it eventually build up to.

It's not really a like light watch but it is strong performances.

I think it's tight and it's really good cinematography.

Those are kind of my initial impressions.

But I'm curious what you thought of it after doing just a little bit of research before and eventually watching it.

Yeah, I would agree that it's definitely in the category of film that is well made, you know, worth your time, but maybe not something you're going to want to revisit very often.

Sure.

And yeah, you can, you can see how this could have been an early calling card for Elizabeth Olsen in her career.

The camera does not shy away from her for most of the film and so, yeah, she has to carry it and does so very handedly.

You know, I hadn't thought about.

Would have worked better as a shorter film.

I think I kind of see where you're coming from.

There's a bit of.

Maybe the tension could have built a little bit more if it was a little bit shorter.

There were some times where it seemed like maybe instead of being uncertain what was happening, it was just sort of confusing or repetitive in terms of, oh, now we need to go investigate this room.

Oh, now we need to go and investigate this room.

Oh, now this person has disappeared.

Oh, no, that person disappeared.

And so, yeah, I could see where maybe you could make it a little bit more effective by trimming it down a little bit.

But I thought it was, it was fairly effective nevertheless.

Yeah.

And what did you think of the final act there?

And like the, like kind of the reveal about, well, her and her father and then also like some of that was, you know, repressed trauma, kind of all that and how it played out.

Yeah, so I guess so, you know, since we said we were going to spoil things so that we're not kind of talking around things, well, we can be more direct about.

Over time, she finds some, some photographs and different things and seems to bring up some memories and realizing that, you know, her, her uncle took advantage of her as a, as a young child.

The exact details are maybe not fully specified.

There are definitely some inappropriate photos that get discovered or at least remembered.

There are different things where it's, you know, it's uncertain what's a memory, what's not.

But we eventually realize or are led to understand that she has repressed memories of these events.

And it's coming back to her being at this cabin with her dad and her uncle.

Her dad was aware of it, was aware of what was going on and kind of kept quiet about it just to sort of keep the peace in the family.

And so all of the violence that is happening is actually her, but doing so in a dissociated state where she doesn't realize that she's the one that is attacking her uncle and committing these acts of violence.

And so that's why she remains frightened and uncertain about what's going on, because she doesn't realize that she's physically doing it, even though she's perhaps mentally dissociated.

There's some suggestion that perhaps there's even an entirely different personality that she's invented.

There's another young woman who comes to the door and acts as if she's an old friend.

But Elizabeth Olfan doesn't remember her.

And eventually it seems like this is a person who's entirely a product of her mind that she's created to be able to distance herself from the violence that she's seeking out and perhaps also distance herself from the experiences that she had as a child as well.

So, yeah, I mean, I thought that that was, you know, I think that's a more a subject for this kind of film that more justifies the kind of tension and scares and uncertainty in this sort of thing.

I'm less interested in watching this kind of movie when the end result is just.

And there was a monster that wanted to eat people.

And some of those stories are more metaphorical than others and more interesting than others.

But gore for gore's sake is not something that I'm super interested in.

But using these kinds of storytelling techniques to approach a difficult but necessary to talk about unfortunately topic I think is a good use of the filmmaking techniques and the storytelling options.

Well, and you hear this term tossed around a lot these days of elevated horror, where it's like horror films that tackle this kind of heavier subject matter and are intended to be more mature and kind of like in a way distance themselves from say, like 80s slashers and things of that nature.

Granted, I still think there's a lot of overlap.

I think horror is always a genre that.

Worthy of respect.

And like, yes, there are different layers to it.

There are, you know, straight up slashers, there's Gore Fest and then there are ones like this that explorer heavier topics and try to utilize elements of more traditional horror films to blend in with the psychological.

And I think I.

That's what I love about the genre is you can have all these things happening.

But yeah.

And again, the.

The elevated horror.

That phrase in some ways feels kind of pretentious.

Like, I mean there.

It's definitely one you associate with like, say a lot of A24 movies and stuff like that.

But if you talk to, like, those filmmakers, they love Freddy Krueger and they love, like.

And so I feel like it's more of a label that critics have put on to it.

But I get your perspective of like, yeah, you want more from a horror movie than just a, oh, here's the monster, or here's the gore fest, or whatever.

So I, I also, I do like ones like this that have something to say and that have a character that you're invested in.

And yeah, so, I mean, I.

Overall, I did.

I think this was worth watching.

And, you know, in terms of execution and performances, that was the highlight.

Again, I think it could have been maybe a little more interesting instead of just going through room to room and all that.

But.

Yeah, but I still, like, I enjoy.

Well, I say enjoy again just because of the really dark ending, but.

But it was well worth checking out.

Yeah.

And I totally get your point about, you know, the term elevated horror and, you know, picking out these are the good ones and these are the not so good ones, or these are the artsy ones and these are the not artsy ones.

Definitely there is art to all kinds of films, you know, and the craft and the skill that goes into making some of the schlockiest, goriest movies.

And, you know, and they can have a message or they cannot have a message.

You know, the.

There's a whole range of things, like you said, and it isn't just a single, like, these are the more artistic and these are the less artistic films, and that's the spectrum.

You know, I'm simply speaking to my personal tastes and the kinds of experiences that I want to have or not have.

But, yeah, there's definitely art to movies that I don't necessarily personally want to watch a whole lot, but that's, you know, that's fine.

Sure.

Absolutely.

And, yeah, I mean, I.

It's funny because I'm thinking about, like, Zach Krieger is a big name in horror right now and, like, Barbarian was his debut feature that I thought was really remarkable and had something to say about, like, toxic male culture.

And it had this really interesting narrative.

And then he just made a Resident Evil movie that I saw last weekend, and I had fun with it.

But if you go into that one looking for really any deeper meaning, I'd be surprised if you find anything because it's basically just.

Just is intentionally a very schlocky, pulpy horror film.

So I kind of like when filmmakers can do both in that respect.

But I was curious, Andy, having watched Silent House.

Now, do you have any interest in checking out the Uruguay film?

You know, I'm certainly open to that.

I'm not sure that I'm going to be in a rush to do that because it is such a difficult thing to wrestle with.

And so kind of double dipping on that so quickly is not high on my list.

But I'm certain, you know, I'd certainly be open to that.

You know, I can't.

I'm not sure that I've ever seen a movie from Uruguay before.

So that would be.

That would be a new experience.

I've definitely seen.

I was trying to think other Spanish language and South American or Central American.

Films, but yeah, I was trying to think if I have either.

Like, I mean, I've seen, I mean, a lot of foreign and indie stuff in film classes, but that was years ago in college.

So I. I don't know off the top of my head if I have or not, but.

But yeah, it would be interesting to seek this out because, like, I.

Because we were tossing around ideas.

Like one I had in mind was Let the Right One in and Let Me in, which was.

I think it was Matt Reeves debut film.

And I have seen both of those and I quite enjoy them.

So I might see if anyone wants to watch those for Uro or let Me in for later in this series.

But.

But I thought this one was a really good pick.

It's probably one I wouldn't have come across otherwise.

And it, you know, I think Elizabeth Olsen is always great in whatever she does.

This was a really interesting concept.

And I'm curious what the filmmakers have done too.

I don't.

I didn't get a chance to look that up to see what they've done since.

Yeah, they weren't.

There weren't names that stood out to me, like.

Oh, yes.

I also remember hearing that they did X, Y and Z afterwards.

Right, let's see.

So now let's see.

Chris Kentis.

That looks like.

Oh, okay.

So the Chris Kentis and Laura Lau were married.

They have one daughter together.

But Chris Kentis filmography.

This was the last film he directed.

Yeah, this is the last one that either of them did.

Interesting.

At least according to Wikipedia.

So I don't know.

Some filmmakers do kind of want to.

I mean, sometimes they do like filmmakers.

They may not have done another feature, but they'll have done other stuff.

But.

But yeah, this was the last one they directed.

So.

Interesting.

But yeah, awesome.

Well, Andy, any other thoughts on this film before we get to our closing here?

No, I think I think we've covered everything that I had on my mind.

Yeah.

So.

Well, I know we.

For our summer Drive in series, we were asking like, oh, what's a good lemonade or tea you would bring to the drive in theater if you're going.

But I'm thinking since it's Halloween season, I don't know if anyone, I'm making this up on the fly, so I don't know if anyone else is going to do this question, but I'm curious.

So what, Andy, what's kind of your favorite Halloween candy you like to either bring to the movies around this time or when you're just sitting at home?

Yeah, I, around Halloween, I generally go for the, the chocolate and peanut butter combos.

So, you know, either something as simple as a Reese's Peanut Butter cup or sometimes a little bit more exciting like a fast break or take five or one of those other, you know, chocolate, peanut butter and other things combinations.

But yeah, for the, for the movies, probably just a straight up Reese's Peanut Butter Cups is a good way to go.

Good choice.

I'm, I'm really the same way.

I like Reese's Pieces, so that's gonna be my go to at the theater especially.

But yeah, I, I don't do candy as much these days.

But you can never say no to a Reese's cup or Reese's Pieces.

So.

Yeah, stuff.

Yep.

They are awesome.

Well, Andy, thank you so much for joining us and for joining me today.

This was glad I finally got the right movie and we were able to discuss today and for our listeners out there again, check us out wherever you get your podcast.

Check us out on YouTube like Rate and review.

We really appreciate it.

And remember, we are all a chosen people.

A geekdom of priests.

Happy Halloween, y'.

All.