There’s nothing more satisfyingly delightful than being taken on a rollercoaster ride of themes and payoffs within a genre film. When it comes to horror, that ride often includes twists and turns that require full acceptance of the bleak and unconventional. While not all horror films deliver payoffs that warrant the ride, when they do, it’s hard not to want to go back and experience the chills and thrills again.
With Tilman Singer’s Cuckoo, the writer/director continues to experiment with familiar concepts within the horror genre, under his own unique brand. Conceptualizing a journey diving into themes of reproduction, grief, and gender roles, Singer creates a polarizing, visually striking, and psychologically unsettling B-horror style production.
Cuckoo follows Gretchen and her father Luis, stepmother Beth, and stepsister Alma. As the family moves to a Bavarian Alps resort, they are met by resort owner Mr. König, who gives off a vibe that leaves Gretchen questioning his ulterior motives while strange events begin to take place, altering the course of her life.
Tilman Singer’s screenplay will certainly test cinephiles as it focuses more on atmospheric tension than on uncovering why things are unraveling at the resort and within Gretchen’s personal life. As Singer’s screenplay begins to reveal what’s causing these events, cinephiles’ patience pays off. Singer’s writing is complemented by direction that unleashes unsettling visuals, disorienting camera work, and what may be one of the genre’s most underrated and haunting scores of the year by Simon Waskow, creating a pervasive sense of dread and claustrophobia.
Cuckoo‘s effectiveness stems from Singer’s direction and Hunter Schafer’s captivating and nuanced performance. Schafer’s range is on full display as she embodies Gretchen’s vulnerability and paranoia with raw, emotional care that adds the levels of sympathy needed to fully invest in her character.
On the supporting side, 2024 has already been kind to cinephiles with standout horror performances, notably by Dan Stevens. With his work in Abigail, it’s no surprise that he follows suit in Cuckoo with a peculiar yet fascinating take that will have you wanting to take up flute lessons by the time the credits roll.
Singer’s film may lose some viewers, as his ambiguity may not appeal to everyone, and the lack of clear answers with the open-ended finale may leave you longing for more. While I personally enjoyed the more complex than conventional experience, it’s not hard to imagine a world where some may view Cuckoo as all style and no substance.
Tilman Singer’s unique directorial vision is worth the price of admission with Cuckoo. In a year that’s shaping up to be an all-timer within the horror genre, the film stands as its own singular entity, taking cinephiles on that rollercoaster ride that warrants rewatching and reexamination.
