Stoker (2013): *****

India Stoker (Mia Wasikowska) has recently lost her father Richard (Dermot Mulroney) to a car accident. During the wake, a mysterious man unknown to India appears at her house. He is introduced by her mother Evelyn (Nicole Kidman) as Uncle Charlie (Matthew Goode), Richard’s brother who has been travelling the world hence his absence. Charlie decides to integrate himself in the Stoker house, so he can support Evie and India through their mourning period. India and Evie find themselves drawn to Charlie, but he has his own desires and secrets that threaten the Stoker household. 

Stoker is a stunning psychological horror, bursting with sexual tension, heady desire and with a completely Gothic sensibility. India is withdrawn from the outside world, spending her time wandering around the estate, reading encyclopaedias and playing the piano in her house. India is still fairly childish for her age and hates to be touched, but she wants someone to treat her like an adult. Charlie starts to seduce India’s mother Evie, but he creates double meanings to his charming remarks to also draw India closer to him. Charlie invites India to be on the same level as him, watching in delight as India takes her first sip of wine. The audience are left wondering if India is fearful of him or if she sees a kindred spirit, does India herself know how she feels about him? Evie is attracted to Charlie, a more youthful version of her late husband, striving to get closer to him. It is clear that Evelyn harbours some ill feelings towards her daughter, because she cannot connect with India and because she feels that Richard favoured India over herself. When Charlie enters the mix, there is a hint of an underlying tension between India and Evie, over the man who looks so like their deceased father and husband. Stoker could easily be read as a pseudo-Electra complex story.  

It is a Park Chan-wook film, so there are some dark and intense moments. One shower scene, which is juxtaposed with a past violent event, will push the boundaries of taste for some people. A pencil proves to be an effective weapon, the bloody casing shaved off so it is ready for the next time it might be needed. An old belt is pulled slowly off from a pair of jeans, before quickly wrapping around the throat of a victim. Eagles tear each other apart in an animal documentary as Charlie hunts down his next victim. Clint Mansell’s score is delightfully ominous with a low brooding piano; however the piano duet (by Philip Glass) is the musical highlight of Stoker. The sound design (Chuck Michael and John Morris) contributes to the general sense of unease. Glass scrapes across wooden tables, eggshell is crushed slowly and squeaking rusty metal are just a few examples of the sounds which set one’s teeth on edge.  

Chung Chung-hoon is an expert at creating dizzy, dream-like cinematography and Stoker is no exception. The camera follows a head of brushed brown hair down, changing colour until we have transitioned into a grassy field. India talks to Charlie after returning from the basement, but the audience only sees Charlie’s shadow talking back to her. Bathed in moonlight India spins around on a playground carousel, whilst the camera glides to keep her in the frame. The colour pops in Stoker, with green walls ranging from mint to dark and bright red doors. Yellow is a thematically important colour, which becomes associated with Charlie and his obsessive nature. 

Matthew Goode is excellent as Uncle Charlie; his performance invokes comparisons with Anthony Perkin’s Norman Bates. Both characters can barely mask their true nature and try too hard to be charming. Charlie smiles a lot but the smile rarely reaches his eyes. Mia Wasikowska is brilliant as India Stoker, a young girl woman still hasn’t crossed the threshold into adulthood. Wasikowska utilises her natural otherworldly presence in India, creating a sense of melancholy and self-imposed isolation to her character. Nicole Kidman has the most challenging role in Stoker as Evie Stoker: she is desperate for affectionate attention, a long suffering mother and an intelligent woman trapped in her dead husband’s house. Kidman pulls it off with ease and sensuality, whilst still portraying the delicate nature of her character. 

Stoker is a visually beautiful modern Gothic story, with plenty of psychological horror and three exceptional performances.