I’m not exactly sure why Alejandro Hidalgo’s 2013 movie The House at the End of Time (La casa del fin de los tiempos) is considered a horror movie. While the surface presentation has all the makings of a woman in peril from an unseen threat, which is the bread and butter of all things horror, this is a very intelligent movie about time, our relation to it, and the act of repetition that condemns generations to never leave the START position.
To begin with, the movie starts in media res. A woman (Ruddy Rodriguez of Venezuelan soap fame and established film actress) lies on the floor. She’s either witnessed or been involved in a terrible supernatural struggle that has knocked her cold for a moment — a crucial one. In the interim, she realizes that her son is missing and something terrible is about to happen. Upon arriving at the lowest part of the house she discovers the body of her husband (Gonzalo Cubero), and her son, standing nearby. Before she can make a move to grab him, Leopoldo vanishes, seemingly pulled from behind by an unknown force.
The woman returns to her home years later. We learn she was, by Venezuelan law, found guilty of killing not only her husband but her entire family. After serving time, the courts have granted her to live out the rest of her years in house arrest where she will have guards at the ready outside her home (as if house arrest weren’t bad enough already!). Not soon after she arrives, the supernatural elements return to torment her, and we wonder, will she repeat the actions of the past, or is there a much larger force at play that involves whatever lives within the walls of her house?
Much of the story hinges on what happens in the present, which inevitably catches up not with the future but with the opening sequence. The story incurs into elements of time as an elastic concept: what has or will happen may have already been a part of a chain of events, which may be a part of a bigger wheel altogether. In this respect, The House at the End of Time veers closer to science-fiction than horror. How it splices events that may be occurring at the same time, while also maintaining a sense of high domestic drama involving the dissolution of the family is a marvel to watch. That the movie never tries to go too deep into its mythos is key to its success. It presents a backstory, which is almost a necessary evil in most horror movies nowadays — especially those that involve dark places — but that in itself never overwhelms the logic of this illogical movie that plays its story over and over again like a Moebius strip. Anchored by a sharp performance by Ruddy Gonzalez and a cast of mainly unknowns on this side of the [Caribbean] Sea, The House at the End of Time is a great example of doing much with less. In doing so, it can deliver a gripping story that of maternal love that defies space and time. On Amazon Prime.
Meanwhile, on Netflix, is a little science fiction movie called Stowaway, and believe me, I almost didn’t see this movie based on its title alone. Doesn’t the title give you an idea of a space mission that (shocker!) either carries or brings an unwanted organism on board, one with an insatiable appetite? I know! So the look of surprise when I come to realize early on that this is far, far different from that type of sci-fi horror movie. In fact, Stowaway is about survival, but of an entirely different nature altogether. Stowaway centers on a group of astronauts en route on a two-year mission to Mars. Soon after launching, the head of the mission, Marina Barnett (Toni Collette) discovers a man unconscious inside the ship. The man turns out to be Michael (Shamier Anderson), a tech who passed out right before take-off and was thus unable to get off the ship in time.
In another science fiction movie, his appearance would be relegated to almost a non-event unless the character was an antagonist (as in the case of the rebooted version of Lost in Space, also on Netflix). Director Joe Penna and Ryan Morrisson have concocted a much different scenario here. You see, it turns out that the ship can only house three people, not four. This being a two-year mission now complicates matters. While the small crew, which consists of biologist David Kim (Daniel Dae Kim) and sensitive Dr. Zoe Levenson (Anna Kendrick) try to make Michael fit in, it becomes increasingly clear that Michael is more of a hindrance and could seriously jeopardize their entire mission to the point that nobody could survive in the end.
I love it when movies go the route of the humanistic side of the conflict as opposed to the by-the-numbers one vs. them plot which has been done so many times it practically arrives precooked and prepackaged for immediate consumption and instant forgetting. Stowaway delivers four fully fleshed-out characters who are caught in an unfortunate situation that is fay beyond their control. It never feels forced and focuses the attention to see how the foursome reacts not to one another but also to the constant peril that they face. There is a sense of slight sadness throughout the entire movie, one that gets magnified the deeper we get into the story. The entire tone of somberness, in fact, helps Stowaway achieve a feeling of tragic transcendence that becomes almost palpable in its final sequences. This is a solid second effort from the same director who in 2019 brought the survival movie the Arctic with Mads Mikkelsen, Highly recommended.