CASSANDRA

Cassandra is young and beautiful. Her childhood, some images and flashbacks of it, are her problem.
Why? Simply because Cassandra’s mother put a gun in her own mouth. She died at the very moment her daughter was at the front door. And Cassandra did have a feeling about this suicide some minutes before. There you have it, for the past.
It suddenly reappears when by chance Cassandra finds the picture of a beautiful woman, officially dead from a car crash, who is her father’s sister. Of course, it is not the truth. Once again, death reappears. And so does the new friend of Cassandra’s father, pregnant…
Everything is tied together by tragedy: murders will succeed one another, and Cassandra’s dazzling visions will cross her mind…
Mad Max, Picnic at Hanging Rock, The Last Wave… Since this golden era, the Australian fantasy movies somewhat got back into the lines of Anglo-Saxon conformism; now they go back to the basics: the horror thriller full of clammy terrors and vague horrors…
Colin EGGLESTON had already shown us with his Long Weekend that he was capable of good. His last film, Cassandra, strongly contrasts with the humming of Mad Max and soaks up a heavy, oppressive and stifling atmosphere, illuminated by a shady beauty clouded by some cruel memories from the protagonist’s mind.
“It’s almost as if violence serves as a valve of liberty for a putrid atmosphere. Both spectacular and personal, it closes an enchanting work, full of overpowering horrible smells.” – Marc TOULLEC.