They tried to go for some kind of psycho-sexual mystery/thriller but failed miserably. The film is schizophrenic & disjointed in nature; the pay-off is weak & contrived. It reminded me of another movie: Muscle (2019),that also thinks that it's smarter than it actually is. If you want weird but accomplished - i.e. not just weird for the sake of weirdness - then watch something like: Norfolk (2015).

I'm not quite sure what I've just watched .

The trailer indicated that this was some sort of Psychological horror but far from it .

It starts off with a young woman who goes to stay with her long term boyfriend in a caravan park in Cornwall and starts to she suspect her boyfriend has cheated on her but when her suspicions ease it she who embarks on tasting the forbidden fruit.

I quite like the first half this film. The non trippy part , you might say , but the the longer the film went on the weirder it got and less likeable the film became.

The performances are ok but not enough to give the film any heft and in the end it pretty much just fizzles out despite the decisions Ruth makes .

Disappointing.

Before watching the interesting The Roads Not Taken (2020-also reviewed) I originally planned for this to be the first title I would see at the Home cinema in Manchester,but sadly no suitable show time ever popped up. Very curious about seeing the film,I finally got set for a make-up free viewing.

View on the film:

Descending on the Cornwall caravan site like a thick fog, composer Ben Salisbury (who was also the co-composer on Ex Machina (2014-also reviewed)) ushers in waves of Post-Rock reverberations across Ruth's self-discoveries.

Closely working with Salisbury, sound designer Ania Przygoda weaves a masterfully textured soundtrack, which draws in a eerie atmosphere of waves hitting against the rocks,creaking floors and a low-rumbling hum that haunts Ruth from every direction she takes.

Shaky on her feet as she starts to question reality, Molly Windsor gives a great performance as Ruth, thanks to Windsor threading a curiosity in Ruth to get closer to the strange sights she sees round the site, with an enticing hazy expressiveness as possible hallucinations of dreams/nightmares awash over Ruth as she comes of age.

From when Ruth takes her first steps into the caravan site, feature film debuting writer/director Claire Oakley (whose dad very good weather special effects,on a production where the cast/crew spent 5 weeks living on the open caravan site) & cinematographer Nick Cooke paint an extremely peculiar dream-logic atmosphere, where the camera hangs in the air just that bit too long,wonderfully taking everything off-centre into a surreal Horror.

Oakley and Cooke turn the real location into a chilly site,with ghostly lights flicking off polythene-covered caravans, and a red headed woman (whose face is obscured from being seen) appear in the distant in front of Ruth,like a ghostly mirage.

Opening Ruth's self-discovery to have a emphasis on atmosphere,rather than plot, Oakley knots the loose plot threads together into a hypnotic dream-logic, mood piece,via Oakley and editor Sacha Szwarc splintering Ruth's mind-set with jarring,fragmented cuts on what might be Ruth's coming of age,with on-edge slices of surrealist Horror in diced bright red nails, startling blasts of coloured rain, and wigs hanging high made out of human hair,as Ruth applies her make up.