In it's genre and section - a low budget debute indie film - this is so much more than a horror movie. What could be expected to be a simple horror dramaturgy of classic cut, turns out to develop into a interesting social drama, spiced up with colorful characters, humor and great storytelling. The acting is a chapter on it's own. Most impressive are the unestablished actors, like Sandra Larsson, that really sparkles as the daughter, conveniently named Sandra. That veteran actors like Thomas Hedengran and international movie star Peter Stormare would deliver great work was not as unexpected. Hedengran gives a convincing portrait of the troubled father, balancing on the edge to a mental breakdown. Stormare is also great as the eccentric psychiatrist, yet somewhat a less complex role, but still making an impression in the film. It should be said that for those waiting for the monster, their time will come. The characters may be given a lot of space, but the tickeling foreboding of horror is always present. As a debut feature film script, it's hard to wish for more. Writer and director Filip Tegstedt shows what he is able to do with small resources, which is very promising for projects to come.

I just finished watching Marianne and I did enjoy it! Granted it is not this intense, nail biting Horror/Thriller, but 1 that is leaving you wanting to know the next thing happening. This movie has a lot going on and if I had to put into words or phrases the following comes to mind: woman scorned, Paranormal Activities, dealing with loss & young female adult to give you a few. Those alone will give you an idea of what all this movie entails. I like the quality of the film, the aerial shots, the way it was shot, with clear pictures and no obscured views. It didn't feel awkward, but more like this is what real people do deal with at times in everyday lives. Personally I would not call it a Horror movie, but rather a Thriller with Drama I guess. But that is my opinion. I have been watching a few movies lately that seem to have the same approach of dealing more with no music in the background and I have to say it works. It does take a bit to get used to, but I think that it also gives you a chance to show of the actors talent and let the scene speak for itself. I think the end speaks for itself and some may not like the way it ended or it didn't make it clear enough. For me it worked. Are there any problems with this movie? Perhaps, but I have no complaints. I liked it and on a day where Hurricane Sandy is barring down on us, it kind of added to the mood! Will I recommend this movie? Absolutely! So go ahead and watch it!

After seeing an online review which compared this film to Mulholland Drive (my favourite film) and the work of Stanley Kubrick, I was naturally interested. Upon seeing it, I think Lynch and the Kubrick estate should sue whoever wrote that.Without a doubt, the worst thing about Marianne was the acting. In places it was just bad, in others it was so bad we actually started laughing, which I'm pretty sure wasn't intentional. Even Peter Stormare, an otherwise extremely confident actor, didn't seem to be trying his hardest. It may not have been solely the fault of the actors however, as the dialogue was extremely stilted and unnatural.Since the release of the brilliant F**king Åmål (Show me Love), it has become almost obligatory for Swedish teenagers in film to be moody, rude and rather volatile - and Marianne proves to be no exception - although in this film, the teenage daughter's character is so over-done that it borders on the comical. (Though I do wonder if all teenagers in this country are really like that, ha-ha!)The general idea for the film, with its basis in Swedish folklore was very interesting, and a subject which has not been covered so widely in film! Unfortunately, the whole project was so badly executed that it would be more entertaining to read a Wikipedia article about the topics covered.

Just caught this at the Leeds International Film Festival as part of their Day Of The Dead horror flick marathon. It's a slow-burning chiller about an errant father quite literally haunted by his past, but plays out as a closely observed family drama that flits through time unexpectedly, but never confusingly, to tell the whole story. It expertly balances the human drama with supernatural elements in a similar way to Let The Right One In, which lends a believability to the whole disturbing scenario. The performances are all spot on, especially Dylan M. Johannsson as the wide- eyed Stefan, and the cinematography is captivating.