Skinamarink Review

A streaming service that has been a real boon to horror fans would have to be Shudder. Owned by AMC Networks, it features a wide variety of different horror films from throughout history and around the world, ranging from Italian horror classics by the likes of Dario Argento and Lucio Fulci to J-horror films of the lates 90s and early 2000s. And they have also featured plenty of original, independent horror films, with one of their latest films, Skinamarink. Directed by Kyle Edward Bell in his directorial debut, basing it off his 2020 short film Heck. He made it at his childhood home in Edmondton, Canada, on a mere $15,000 budget, and had it’s premiere at the 26^th Fantasia Film Festival in Montreal. Afterwards, a copy of the film leaked online and gained word-of-mouth acclaim on social media sites and apps such as Reddit, Twitter, and TikTok. And now having finally seen it, I can safely say that it’s not only an early contender for best horror film of the year, but is also one of the scariest horror films ever made in recent years.

Taking place in 1995, the film follows six-year-old Kaylee (Dali Rose Tetreault) and Kevin (Lucas Paul) who wake up one night to discover that their father is missing and that the doors, windows, and various other objects have disappeared. The two take refuge around the comforting glow of their television set, but it soon becomes clear that there is some presence in the house.

A surreal, highly experimental horror film.

As you can tell by the very sparse summary, the film is very unconventional between its striped down, bare bones plot, and how almost every person is filmed from an angle where you can’t fully see them. Many comparisons have been drawn between this film and the seminal found footage horror film The Blair Witch Project, namely because both focus on a small cast of characters being tormented by an unknown entity. However, the closest film that I can compare it to is David Lynch’s Eraserhead. Namely, both films are total experiences, where you don’t try to logically comprehend either it or its plot, and you let yourself get immersed in it and its atmosphere.

One area that Bell succeeds in portraying with this film is its atmosphere. Bell has stated the works of filmmakers Stan Brakhage, Maya Deren, and David Lynch played an influence on Skinamarink, and has specifically cited the 1974 slasher Black Christmas as an influence in his decision to use several panning shots in the movie. Often, there are times where the film focuses on different aspects or areas of the house like the ceiling or a completely dark area. The film’s dark and sometimes surreal atmosphere aids in creating two of the most effective jump scares in recent history. For those that are unaware, a jump scare is a technique used in horror films that scares the audience with an abrupt change in an event or image, often accompanied by a loud noise. They’re often derided for being a cheap way to earn scares, but like with any technique, there are good and bad ways to use them. A bad horror film often uses jump scares as a crutch in place of suspense and atmosphere and will blatantly telegraph them from a mile away. At the opposite end, a horror director that is skilled at their craft will often build up tension and suspense before hitting the viewer with the jump scare right out of nowhere. Great examples of these can be found in the works of Tobe Hooper, such as Lifeforce and Texas Chainsaw Massacre 2. Skinamarink executes its jump scares through its atmosphere, its stretches where it focuses on insignificant things, and continually building up of tension and dread. Its this combination that led to two of the most effective jump scares seen in recent horror films, with both of them scaring me to my core.

A film that perfectly captures childhood fear

What makes Skinamarink notable is that it’s an encapsulation of the childhood fear of the dark and unknown that everyone has experienced. Everyone has had the experience of waking up in the dead of night and feeling like there is something there watching them or thinking that there is some creature or monster hiding in the dark areas of their room or at the end of the hallway. And these fears are usually embodied in figures like the boogeyman or in the idea that there are monsters that live in your closet or underneath your bed. Skinamarink captures this feeling by having its two main characters be young children, and having certain shots be seen out of focus or from certain angles to where you can only partially see a person.

Adding to that encapsulation of childhood terror is that in the film, Kaylee and Kevin surround themselves with two of the comforts of childhood: cartoons and their toys. Shown throughout the film are various old cartoons (which were sourced from Archive.com) that play on the television. The cartoons that play is reflective of the situation that Kaylee and Kevin find themselves in, often involving two characters in peril or being tormented by some malicious entity. In particular, there’s a scene that repeatedly plays a part from the short Prest-O Change-O, where a cartoon rabbit does a disappearing act in front of a dog. The cartoons also bring a nostalgic appeal to the film, and this nostalgia is also reflected in the film’s presentation. While shot digitally, the film has a heavy film grain filter over it, and the sound of the film has a scratchy quality to it. These two factors bring to mind home movies of one’s youth, and helps cements the film’s perspective of that of a young child’s.

Skinamarink is a film that is bound to divide general audiences and horror fans alike, and I can easily see why some will absolutely hate it. However, I qualify it as one of the scariest horror films made in recent years, and an early contender for best horror film of the year. Kyle Edward Bell crafts a film that is heavily experimental, with an unconventional presentation, a bare bones plot, and a very dark and palpable atmosphere. If anything, it captures the childhood fears of the unknown and unseen terrors that await one in the dark. I recommend giving the film a watch once it arrives on Shudder, if only for the craft and care that went into it.