A nn Marie Fleming’s dystopian fable opens, not with gnarly destruction, but birdsong and lush greenery. The sensorial calm of rustling ferns and blushing bell flowers envelop the frame, while the Ink Spots’ recording of I Don’t Want to Set the World on Fire plays softly in the background. This music cue recurs throughout the film, with each appearance more menacing than the last. Indeed, something wicked is lurking within this Edenic cocoon.

Things start out innocently enough. We see Ellie (Sandra Oh), a radiant single mother, entrusting her daughter Kiah (Keira Jang) to the care of Daniel (Joel Oulette) as the pair of young adults head off on an important mission. It is quickly revealed, however, that the pastoral beauty of their surroundings comes with a price. In the aftermath of c

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