‘Glasshouse’ Review
Stars: Jessica Alexander, Anja Taljaard, Hilton Pelser, Adrienne Pearce, Kitty Harris, Brent Vermeulen | Written by Kelsey Egan, Emma Lungiswa de Wet | Directed by Kelsey Egan
A brand-new post-apocalyptic gothic sci-fi melodrama from South Africa, Glasshouse is one of a growing number of genre films to stem from the country, yet one that is not really known for its genre output but one whose culture and landscape are just rife with terrifying possibilities. The film stars British actress Jessica Alexander (the upcoming live-action remake of The Little Mermaid) and newcomer Anja Taljaard as the sisters, Bee and Evie, opposite Hilton Pelser (the BAFTA-nominated Moffie, the upcoming remake of Dangerous Liaisons) as The Stranger.
Glasshouse is set after The Shred, an airborne dementia, has left humanity roaming like lost and dangerous animals, unable to remember who they are. Confined to their airtight glasshouse, a family does what they must to survive – until the sisters are seduced by a stranger who upsets the family’s rituals, unearthing a past they have tried to bury…
Now Glasshouse is billed as a post-apocalyptic tale, and whilst “the shred” has created a dystopian future, the future on display here is very much unlike any other post-apocalyptic film you may have seen. People have not resorted to dressing in BDSM-like gear, acting like vicious killers out for survival. Nope, in Glasshouse we get a family that act and dress like they’ve stepped out of the Victorian era. An era that the glasshouse of the title also looks to be a part of. Though these girls make look sweet and innocent and act for the most part like “proper ladies” (who just happen to kill anyone infected with the shred that come near them) but they’re clearly not, admonishing one of the “family” for forgetting the family prayer and for peeing the bed in fear. In fact, the eldest girl in the family betrays the family and their code, to not let strangers within the sanctuary of their home, all in the name of horniness!
It’s the underlying feeling that not all is quite right with this family that keeps Glasshouse being of interest, the intrigue and mystery; which is perfectly balanced by the gothic nature of the film – reminding me somewhat of the likes of the 80s British horror Paperhouse. Unfortunately, the more it goes on the more Glasshouse descends too far into melodrama, losing what made the film interesting. which was the intrigue of who are these girls, the question of if they are really family, and why do they pretend like this has been their entire life when clearly they have come together post-The Shred?
As a debut feature Glasshouse marks co-writer and director Kelsey Egan as someone to watch in the future but at the same time it also feels very much like a first-time feature, with mistakes that may have been avoided by a director with more experience, or perhaps someone who wasn’t so close to the film.
Glasshouse is available on digital platforms now from Signature Entertainment.
