Brooklyn Horror 2023 Review: BREATHING IN, An Acting Showcase That Drips With Growing Dread

The year is 1901, the place is South Africa during the Second Boer War. A wounded general is being tended to in the small rural home of Anna and her young daughter, Annie. That night, the general’s adjutant, Brand, comes to check in on him. Concerned for the life of the general Brand cannot help but be drawn to the unsullied beauty of Annie. Something is amiss, however, and Anne begins to feed on these emotions and turn Brand’s attention away from the general and to her befguiling daughter, who also needs saving. However, traditional medicine cannot heal Annie and the mother and daughter have something more sinister in mind. 

 

Jaco Bouwer, director of the 2021 breakout eco-horror hit, Gaia, has returned with their new film, Breathing In. This time the writer/director brings us a tense and forbidding slice of perfectly executed classic horror, adapting Reza de Wet’s 2005 play by the same name. We do not know the original play and how close to the original text Jaco Bouwer has stayed. The type of prose spoken by the cast suggests, and we presume, “not much?”. The language in the film is both formal and poetic, as if ripped from the very stages the play was first performed on. 

 

What Bouwer does here is capture the energy of a stage production on film. If it makes any sense, when you’re watching Breathing In you're watching thespians in these roles rather than screen actors. Not to downplay screen actors but stage actors have always had to have an extra sense of presence and gravitas when performing on stage. They are doing so to an audience that is right there with you, instead of performing to other actors on set with you. It is a projection of wills and emotions that you have to get in one shot, in the moment, in order to captivate your audience. What’s the old adage? You have one chance to make a first impression. What an impression they make. 

 

Breathing In is an acting showcase from Michele Burgers, Scen Ruygrok, and Jamie-Lee Money, who all tap into their vast stage experiences. It is Burgers whom specifically stands out with a powerhouse performance that will send chills down your spine. We could watch her perform for days and days. We’d be cowering in our seats all the while, but Burgers is simply phenomenal here. Her Anne is cunning, deceitful, manipulative and most important of all, powerful. At the risk of her being typecast as such here on in, she is a type of archetypal mad matriarch in this story and would elevate any matriarchal-centric horror (ie. Macabre) or gothic horror flick (ie. Crimson Peak) with her presence alone. Just. Wow. Pun intended, we were bewitched by Burgers’ performance. 

 

Breathing In is a story of growing desire and madness as the women prey on Brand's stewing affection for Annie. Upon his arrival Brand declares loyalty to his General and stresses the importance of their recovery. Also, he is an honorable man and will help these ladies in any way he can. How long can he ignore Annie though, dressed in a white frock with flower stitching, a presentation of purity and innocence that stands out against the clay walls and dirt floor of the dwelling they’re holed up in. He has been at war for a couple years now. How long has he been away from the allure of female companionship? No, no. For as long as he has, he is still a gentleman. Still, further to their efforts, Anne and Annie will tear Brand’s attention away from his leader. How long will it be until he falls prey to their plans? 

 

Breathing In attains its horror branding with images casually interjected throughout the narrative. Bouwer uses horror themes for emphasis and to maintain mystery. He breaches the growing dread throughout the story with injections of unsettling horror imagry. As casually as they appear they are very well thought out and executed for tremendous effectiveness. There are moments that make you leary of the womens' true nature, some that make your skin crawl and others that make you gape, in wonder. These moments that come are equally creepy and cool. 

 

While the camera is mostly static small flourishes by way of tilts add to those nuanced images of terror and horror. The aspect ratio changes as well, from a restrained ratio reflecting the confined space of the single room dwelling, gradually widening out as the bigger picture of the story, of the true intent of Anne and Annie comes to light. This is how classic horror themes and filmmaking style come into effect in Bouwer’s movie. 

 

Breathing In will speak favorably to fans of classic horror films than to those who merely appreciate slash and dash contemporary offerings. If there is any comparison to make, that will give you an idea of what to expect from Breathing In, we would say that it could be a companion piece to Robert Eggers’ The Witch. Similar in approach to story telling and style, yet with more discernable prose. 

 

Breathing In is definitely worth checking out for the tremendous performances from its cast. We cannot stress enough how incredible Burgers’ performance is. The experience is rewarded with a constant injection of a subtly dropped but very cool collection of horrific and terrifying imagery. This is one for fans of classic horror films from the post-war era of the 50s through 70s. 

 

(Breathing In had its world premiere at Brooklyn Horror Film Fest last week)