Malgorzata Szumowska's first English-language film has rich rewards for
those willing to uncover the cult.
The Other Lamb tackles patriarchy in an inventive and
thoughtful manner, giving the viewer space to draw their own conclusions. The
drama revolving around a cult, called the Flock, is playing in competition at
the San Sebastián Film Festival and the London Film Festival, following its world premiere as a
Special Presentation at the Toronto Film Festival.
Polish director Malgorzata
Szumowska has built a formidable reputation making ambiguous,
open-ended films about gender power dynamics and religious moralism. The
results are purposely obtuse, designed to spark debate and question societal
norms. Elles [+] (2011) is about a
French woman (Juliette Binoche) writing neutrally about female
student prostitution. Body [+] (2015) questions
whether there is a spiritual dimension separate from the physical. And, in her
most recent film before this, Mug [+] (2018), a man has a face transplant following an
accident at the site of the world's biggest replica of Christ in Poland. This
recent output has ensured that Szumowska is a firm festival favourite.
Szumowska's first
English-language film, The Other Lamb, looks once again at the
spiritual aspect of life and takes this theme of patriarchy to the extreme.
It´s told through the wide eyes of 15-year-old Selah (rising British star Raffey
Cassidy), who has only known life as part of the Flock. It's run by
Shepherd (Michiel Huisman), who has positioned himself at the
centre of the community as God, father and husband. The Flock, for there are
only women, are either his wives or his daughters. And if you are a daughter,
such as Selah, then you will reach puberty and become a wife. What makes The
Other Lamb such an uncomfortable, challenging and excellent watch is that
it pushes the idea that this system can only work with the permission of the
women. The wives lament how the Shepherd once looked at them with the same
ogling eyes he now casts over the daughters. The sweeping, circular moves of
the camera position these wives as a coven. It's disconcerting and part of the
mixed messages sent throughout this eerie drama that is always teetering on the
edge of horror.
Taking place in the
present, the congregation make homes in the forest (shot in a beautiful Irish
landscape), and the group only move locations when the outside world
encroaches. The authorities take an interest, but they don't seem too bothered
as long as no serious crime is being committed. The relationship between these
outsiders and the system is reminiscent of that explored by Debra Granik in the
underrated Leave No Trace. Shepherd only needs to say that the women
will be taken from him in order for them to adhere. There is symbolism
everywhere, even in a Barbie doll left on a windowsill.
Selah is seen as unique, as
she is the daughter of a mysterious mother figure who is continually talked of
in mythic terms. There are hints of an invisible twist over the identity of her
mum. Has she died or vanished, as we are led to believe? Or could she be the
outcast bride? Eerily and bloodily portrayed by the excellent Denise
Gough, the outcast bride always speaks of the mother in a laudatory
manner and displays a maternal attitude towards Selah, so it´s definitely
possible that it could be her. There are parallels in how the Shepherd touches
both women, and in their propensity to rebel. It's a beguiling, complex movie
that is open to many interpretations.
The Other Lamb was produced by Zentropa Belgium, Umedia (Belgium), Rumble Films (USA), Subotica Productions Limited (Ireland) and Rooks Nest Entertainment (UK), with the support of Screen Ireland.
Its international sales are handled by TrustNordisk.