A large, antiquated house on a stormy sea front. A young, meek girl. A multitude of candles and oil lamps because electricity is overrated. Thus the scene is set for Chris Kentis and Laura Lau’s American remake of Gustavo Hernández’s La Casa Muda.
Like the original, the key strength of Silent House lies in the expertly choreographed journey of the camera. In a single, 86 minute shot, we follow Sarah (Elizabeth Olsen) as she finds herself locked inside her Father’s house with a malignant presence that seems bent upon torturing the unlucky pair. In real-time, the audience lives through the ordeal with Olsen on screen for its entirety, a gruelling feat that she executes to skittish perfection.
However, despite captivating performances and quirky camera angles, Silent House often feels more of an elaborate shoe advert than a horror thriller. With a large slice of the action taking place as Olsen cowers under a variety of snooker tables, beds and dining sets, a veritable fashion show of footwear is paraded across the screen as the presence stalks past her obvious hiding places. Combined with a predictable plot, this remake lacks the substance of the original, but more than makes up for its failings through its highly original productive techniques.