The Lodge (Severin Fiala and Veronika Franz, 2020)

Discussions of specific films and franchises.
Message
Author
User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#26 Post by therewillbeblus » Sun Feb 23, 2020 1:40 am

SpoilerShow
Great points, and in the form of some objects too, for Keough at least- the painting, the pictures, various items in the house all haunt her as reminders of her barriers into this family system and moreso trigger her instability and thwarted belongingness, which she already has a traumatic history from with the cult! With the Christian imagery too like, the physical cross, serving as a signifier of her specific trauma only sharpens the signifiers of her negative core beliefs and self esteem, spreading her thin between the two: the ones that remind her she doesn’t belong now and the ones that remind her she’s never belonged in the past. It’s also an interesting allegory for how we are more likely to be heightened to our triggers of these negative core beliefs when we’re already vulnerable from other circumstances. This explains what were red herrings for us were actually just signifiers for internalized awful emotions for Keough. Such audacity, to subvert all the possibilities of these scenes of impending dread and reveal them to be exactly what they were for us: simply perpetual disorienting discomfort.

User avatar
cdnchris
Site Admin
Joined: Tue Nov 02, 2004 2:45 pm
Location: Washington
Contact:

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#27 Post by cdnchris » Sun Feb 23, 2020 1:44 am

Literally just saw this and still processing it, but it was one of the more intense movies I've seen in a long while.
SpoilerShow
Next time my kids are being little smart asses, I'll think of the little shits in this film, and quickly forgive them.

The ending is a gut punch, but after everything that preceded it, can't say it was too much of a surprise since they never considered the possible consequences, which I guess is a common trait with kids. In this case they were driven by anger and grief. And of course, being kids, it took the dog dying before they realized what they were doing was wrong.

I don't know how well this will do, though. I went to one of the only screenings in my area and the theater was dead. A couple people walked out, and the reactions afterward were not good. Hoping my screening was just an outlier.

User avatar
DarkImbecile
Ask me about my visible cat breasts
Joined: Mon Dec 09, 2013 6:24 pm
Location: Albuquerque, NM

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#28 Post by DarkImbecile » Mon Feb 24, 2020 5:21 pm

I generally agree with what others appreciated about this one, even if I'm ultimately not quite as enthused with it as others were.
SpoilerShow
I'm usually the first person to argue for overlooking narrative leaps and questionable decision-making by characters if it advances stylistic and thematic choices, so I'm kind of struggling with my own reactions to a film that in many ways is solidly in my wheelhouse: stylish, genre-subverting, rich in character detail and compelling imagery. Unfortunately, I can't help but qualify my praise for its positive attributes with complaints about... narrative leaps and questionable decision-making by the characters.

As Sausage and others note, the "twist" is about as well-handled as it could be once it's fully revealed, but because the kids' manipulation of the situation to at least some extent is telegraphed so early on, one still has to sit with it (in my case, unhappily) for about an hour of the running time. Intellectually and in retrospect, I enjoy what Fiala and Franz did in minimizing and undermining this element of the narrative — where a worse film would have showcased it — but I can't totally dismiss the fact that it was genuine drag on my enjoyment in the moment.

I also had a hard time accepting the father's willingness to leave his fiancee alone in a new, semi-treacherous environment with grieving kids who are openly hostile to her, which would be an absurd thing to have done even if she wasn't on anti-psychotics, stuck in a house filled with religious iconography, and probably easily triggered by having to navigate kids dealing with the suicide of a parent. The inexplicability of this choice somewhat works in the moment when we're unsure where this is all heading, and if the events of the film had turned out to be taking place in some sort of purgatorial netherworld, I could have more readily forgiven it, but because the narrative ultimately remains rooted in reality, it curdles upon reflection.
All that said, Keough is typically excellent, much of the imagery is highly memorable (particularly the penultimate shot), and there is definitely value and discipline in the way the film avoids the horror pitfall of focusing more on a narrative twist than on its characters and the implications of their actions. Given Sausage's comments in the first post, is it worth seeking out Goodnight Mommy, or better to wait for Fiala and Franz' follow-up?

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#29 Post by therewillbeblus » Mon Feb 24, 2020 5:40 pm

DarkImbecile wrote:
Mon Feb 24, 2020 5:21 pm
SpoilerShow
I'm usually the first person to argue for overlooking narrative leaps and questionable decision-making by characters if it advances stylistic and thematic choices, so I'm kind of struggling with my own reactions to a film that in many ways is solidly in my wheelhouse: stylish, genre-subverting, rich in character detail and compelling imagery. Unfortunately, I can't help but qualify my praise for its positive attributes with complaints about... narrative leaps and questionable decision-making by the characters.

As Sausage and others note, the "twist" is about as well-handled as it could be once it's fully revealed, but because the kids' manipulation of the situation to at least some extent is telegraphed so early on, one still has to sit with it (in my case, unhappily) for about an hour of the running time. Intellectually and in retrospect, I enjoy what Fiala and Franz did in minimizing and undermining this element of the narrative — where a worse film would have showcased it — but I can't totally dismiss the fact that it was genuine drag on my enjoyment in the moment.

I also had a hard time accepting the father's willingness to leave his fiancee alone in a new, semi-treacherous environment with grieving kids who are openly hostile to her, which would be an absurd thing to have done even if she wasn't on anti-psychotics, stuck in a house filled with religious iconography, and probably easily triggered by having to navigate kids dealing with the suicide of a parent. The inexplicability of this choice somewhat works in the moment when we're unsure where this is all heading, and if the events of the film had turned out to be taking place in some sort of purgatorial netherworld, I could have more readily forgiven it, but because the narrative ultimately remains rooted in reality, it curdles upon reflection.
SpoilerShow
I also guessed the kids were manipulating her early on, but to what degree was the question, and the film did a good job at setting up several different pathways it could have gone down, choosing the most interesting (if this turned into another haunted situation, or if Keough's mental health was solely the precipitant of moving the stuff including her pills through weird sleepwalking, well it would've been a well-dressed familiar programmer).

Funny enough, my girlfriend, who liked the film, left the theatre fuming about the father as the worst offender of them all for his invalidating parenting style and poor decision making skills. I didn't agree to that extent, but the question of who is accountable and for what and because why is where this films succeeds most as a morality play.

As far as leaps, the only one that really bothered me was the reveal that the daughter was on the phone talking to the father all this time. As if the father would not only leave his kids with his fiance they haven't met yet and hate, but that he would be trying to reach her phone, which was dead, and not demand to speak to the adult in charge (plus the woman he loves so much as to supersede his children's comfort) when on the phone with his daughter yukking it up so much that her battery dies. That was a bit ridiculous.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#30 Post by mfunk9786 » Mon Feb 24, 2020 5:54 pm

SpoilerShow
There's also a hubris to the father's decision making. He's responsible for Keough's care, so of course she's doing well - he should know, he's her doctor! Surely the notion that he knows best and has seen her make tremendous progress gives him a false sense of security. And at the end of the day, there are millions of people with mental health issues who are responsible for children because they're treated and doing well enough to be up to the task. Surely the Keough we see in the earlier part of this film falls into that category, and it's the children torturing her that manages to expose the rot below her exterior. But she hangs in there long enough that I think it's a testament to how the character was written. A lesser film would have had her go off the rails right away, but it took a lot of doing on the part of the children to get her to a dark place she couldn't come back from.

User avatar
Mr Sausage
Joined: Wed Nov 03, 2004 9:02 pm
Location: Canada

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#31 Post by Mr Sausage » Mon Feb 24, 2020 6:10 pm

DarkImbecile wrote:I generally agree with what others appreciated about this one, even if I'm ultimately not quite as enthused with it as others were.
SpoilerShow
I'm usually the first person to argue for overlooking narrative leaps and questionable decision-making by characters if it advances stylistic and thematic choices, so I'm kind of struggling with my own reactions to a film that in many ways is solidly in my wheelhouse: stylish, genre-subverting, rich in character detail and compelling imagery. Unfortunately, I can't help but qualify my praise for its positive attributes with complaints about... narrative leaps and questionable decision-making by the characters.

As Sausage and others note, the "twist" is about as well-handled as it could be once it's fully revealed, but because the kids' manipulation of the situation to at least some extent is telegraphed so early on, one still has to sit with it (in my case, unhappily) for about an hour of the running time. Intellectually and in retrospect, I enjoy what Fiala and Franz did in minimizing and undermining this element of the narrative — where a worse film would have showcased it — but I can't totally dismiss the fact that it was genuine drag on my enjoyment in the moment.

I also had a hard time accepting the father's willingness to leave his fiancee alone in a new, semi-treacherous environment with grieving kids who are openly hostile to her, which would be an absurd thing to have done even if she wasn't on anti-psychotics, stuck in a house filled with religious iconography, and probably easily triggered by having to navigate kids dealing with the suicide of a parent. The inexplicability of this choice somewhat works in the moment when we're unsure where this is all heading, and if the events of the film had turned out to be taking place in some sort of purgatorial netherworld, I could have more readily forgiven it, but because the narrative ultimately remains rooted in reality, it curdles upon reflection.
All that said, Keough is typically excellent, much of the imagery is highly memorable (particularly the penultimate shot), and there is definitely value and discipline in the way the film avoids the horror pitfall of focusing more on a narrative twist than on its characters and the implications of their actions. Given Sausage's comments in the first post, is it worth seeking out Goodnight Mommy, or better to wait for Fiala and Franz' follow-up?
Goodnight, Mommy is worth seeking out in that it has the same richness of atmosphere and mystery to it, and is masterful for the majority of its run time. It’s just that it has the things you didn’t like to a greater, indeed crippling, degree.

User avatar
Mr Sausage
Joined: Wed Nov 03, 2004 9:02 pm
Location: Canada

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#32 Post by Mr Sausage » Mon Feb 24, 2020 7:49 pm

Addendum to above discussion:
SpoilerShow
The father has a history of leaving the people close to him, to horrific results. You'd think he'd learn his lesson, but he does the exact same thing again. And, of course, it's pretty blind of him to essentially reenact on a smaller scale the primary abandonment affecting Keough.
There's quite a lot of selfish decision making in the movie, with authority figures on multiple levels abandoning their charges for one reason or another, to grave effect on the mental health of those around them.

User avatar
DarkImbecile
Ask me about my visible cat breasts
Joined: Mon Dec 09, 2013 6:24 pm
Location: Albuquerque, NM

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#33 Post by DarkImbecile » Mon Feb 24, 2020 8:01 pm

mfunk9786 wrote:
Mon Feb 24, 2020 5:54 pm
SpoilerShow
There's also a hubris to the father's decision making. He's responsible for Keough's care, so of course she's doing well - he should know, he's her doctor! Surely the notion that he knows best and has seen her make tremendous progress gives him a false sense of security. And at the end of the day, there are millions of people with mental health issues who are responsible for children because they're treated and doing well enough to be up to the task. Surely the Keough we see in the earlier part of this film falls into that category, and it's the children torturing her that manages to expose the rot below her exterior. But she hangs in there long enough that I think it's a testament to how the character was written. A lesser film would have had her go off the rails right away, but it took a lot of doing on the part of the children to get her to a dark place she couldn't come back from.
Mr Sausage wrote:
Mon Feb 24, 2020 7:49 pm
Addendum to above discussion:
SpoilerShow
The father has a history of leaving the people close to him, to horrific results. You'd think he'd learn his lesson, but he does the exact same thing again. And, of course, it's pretty blind of him to essentially reenact on a smaller scale the primary abandonment affecting Keough.
There's quite a lot of selfish decision making in the movie, with authority figures on multiple levels abandoning their charges for one reason or another, to grave effect on the mental health of those around them.
Thanks to both of you and twbb for the thoughts; I already wanted to see it again to see how my other plot complaint holds up, and I suspect rethinking the father's role in the narrative will only bolster that re-evaluation. As I mentioned, I was already second-guessing my initial reactions, and I'm wondering if this viewing just hit me at the wrong time and put me in a less charitably analytical frame of mind.

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#34 Post by therewillbeblus » Mon Feb 24, 2020 8:15 pm

mfunk9786 wrote:
Mon Feb 24, 2020 5:54 pm
SpoilerShow
And at the end of the day, there are millions of people with mental health issues who are responsible for children because they're treated and doing well enough to be up to the task. Surely the Keough we see in the earlier part of this film falls into that category, and it's the children torturing her that manages to expose the rot below her exterior. But she hangs in there long enough that I think it's a testament to how the character was written. A lesser film would have had her go off the rails right away, but it took a lot of doing on the part of the children to get her to a dark place she couldn't come back from.
SpoilerShow
I agree, and actually in the post-movie discussion with my friend and girlfriend I felt she was the party with the least responsibility for what occurs, though even ranking such along a single spectrum feels wrong. The kids, despite going through a lot and their behaviors being somewhat fostered in resentment from grief, are proactively abusive, and to the extent that they go with their actions here, in my experience working with kids who exhibit these behaviors, it's not exactly the greatest sign of their own harmful mental health issues. Proactive planning like this is rare, most aggression and emotional abuse is reactive. If the filmmakers aren't trying to show that these kids have conduct issues (childhood diagnostics for antisocial personality disorder, previously known as sociopathy), that may be a problem with the writing since they check every box. Despite our alignment with them and empathy for their position, it's hard not to read it from that perspective and hold them as the most responsible for their fates.

I'd probably blame the father next (how I hate the word "blame" though) because, as Sausage says, he's not very perceptive of others and invalidates frequently. He reminds me of family members of my own though, in that he clearly just doesn't possess the skills or comprehension, or emotional intelligence, to engage with others around mental health issues, problems, grief. He put off his wedding and is clearly walking on eggshells around the issue, spending time with his kids and putting off his own life agenda (including sneaking off to spend time with his fiance, rather than establishing her as a part of the family straight off) so he clearly has some awareness and has been flexible for six months, but that doesn't mean it came from a place of empathy as much as anxiety over how to proceed (and at the expense of Keough more than anyone, who, well now in hindsight of this point was an even stronger and empathetic character than I thought!). He didn't introduce the kids to his fiance and then planned to spring the engagement on their first meeting with her, and his attitude was very much: 'Why can't we just be over this?' when finally confronted. It's solipsism but not the kind people often think of, it's the kind where he is sensitive to issues but doesn't have the tools to confront them, so when they do emerge he plows his own agenda onto the table or questions why others can't join his perspective rather than seeking to understand.

And yes, Keough's strengths being revealed as real strengths and coping skills as her authentic self after witnessing her shadowy figure from the kids' perspectives with slow-burn of dread is incredibly respectful to a person in her position, and in the days since leaving the theatre I think about the idea of going without one's medications as its own kind of prison, and how the kids played everything straight-faced not emotionally wavering their dispositions or attitudes as she self-destructed. Fuck.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#35 Post by mfunk9786 » Tue Feb 25, 2020 12:03 am

How amazing is Riley Keough, by the way? I can't help but worry that she's going to remain, for lack of a better way of putting it, a Sundance actress for the foreseeable future despite the fact that she is routinely the best thing about each project she appears in.

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#36 Post by therewillbeblus » Tue Feb 25, 2020 12:32 am

Mesmerizing, and it certainly looks that way with the next few she's attached in. I figure she's either got an agent without connections or she's choosy about her projects, because she's been getting raves for years now and people are definitely aware of her talent.

User avatar
DarkImbecile
Ask me about my visible cat breasts
Joined: Mon Dec 09, 2013 6:24 pm
Location: Albuquerque, NM

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#37 Post by DarkImbecile » Tue Feb 25, 2020 12:50 am

I’m not seeing the problem for her; she’s working steadily in high-quality projects with interesting filmmakers. Do we want her to get sucked into a franchise or something?

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#38 Post by therewillbeblus » Tue Feb 25, 2020 1:12 am

I don't, I'm just pointing out that it seems she could go in that direction if she wanted to in response to mfunk's comment; I'm personally glad she's continuing down the road she's on.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#39 Post by mfunk9786 » Tue Feb 25, 2020 2:47 am

No, but I do want her to get awards recognition and roles in more high profile films.

User avatar
Finch
Joined: Mon Jul 07, 2008 5:09 pm
Location: Edinburgh, UK

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#40 Post by Finch » Fri Feb 28, 2020 7:54 pm

An excellent film that finally made it to my town. I was enthralled from start to finish though I also kept hoping that they wouldn't ruin it at some point. Luckily, for me anyways, they stuck the landing and then some. They absolutely nailed the pacing of this film. It's patient but it doesn't tip over into being too slow as Mssrs Lynch and Perkins occasionally do (I say this as a fan of both). Its' attention to detail is exquisite (I felt the underwater shot of the bubbles was meant as a parallel to the close up of the tablets dissolving) and Fiala and Franz have gotten wonderful performances out of the entire cast. The child actress reminded me of a young Kirsten Dunst in appearance. I get the comparisons with The Shining (snowed in isolated location, Penderecki-esque score) but I feel this film withstands the comparison
SpoilerShow
not least because for the protagonists here there is no release
.

So, plot specifics
SpoilerShow
I was initially bothered by the printout of the fake obituary. I was like, wait, are they saying the kids hate Grace so much they even created a fake article matching the fonts etc prior to the trip? But then I thought, if you don't have a problem with them stashing the entire food supply and Grace's belongings in the basement which requires some effort, then you shouldn't have an issue with the fake news article.

I read the ending mainly as an act of comeuppance for the kids for what they have done (between this and Goodnight Mommy, the filmmakers don't go easy on kids!), but I also thought if they had lived they couldn't have broken the circle of grief and pain anyway which was compounded by the shooting of Richard.
I didn't like Goodnight Mummy (my memory of it is pretty vague; I seem to recall not liking the ending) so The Lodge was very much on a whole other level for me. I've liked several horror films over the last few years but this is the first one that feels like one for the ages.

User avatar
Finch
Joined: Mon Jul 07, 2008 5:09 pm
Location: Edinburgh, UK

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#41 Post by Finch » Fri Feb 28, 2020 8:28 pm

SpoilerShow
One of the things I liked most was how they manipulate your sympathies throughout the film. First, they stack the odds massively against Grace, with blurry shots of her that are full of resonance (they resent her, they don't want her to be real), inserts of the kids looking skeptically at her, full of judgment, and then pile on comparatively objective reasons to mistrust her with the news article and video. But then we realise Grace is defined and haunted by her own trauma, she is a survivor too and she makes genuine efforts to reach out to the kids whereas they do not. Mia does this totally passive aggressive thing with the video of her mum but then she seems to respond more positively. Again though, in hindsight, I'm left wondering was any of that genuine, or deliberation, or perhaps a mixture of the two? Mia certainly seems distraught by the death of the dog. Then the kids realise they've pushed her over the brink and I started to sympathise with them again, because, no matter how bad it was that they have done, they're still kids. But I also felt sorry for Grace. In this film, nobody wins. They just die, broken.
Random observations:
SpoilerShow
I don't know about anyone else but when the organ is first heard in that fingernail-on-chalkboard-key, it was earpiercingly loud in my screening. I suspect that wasn't a fuck up with the speakers but by design to further unnerve us. If so mission accomplished.

Is it just me or did the saint in the painting have a resemblance to Keough?

PS.: I did not realise this was Alicia Silverstone as Laura until I saw her name in the credits. I kept thinking, this actress looks familiar!

User avatar
Finch
Joined: Mon Jul 07, 2008 5:09 pm
Location: Edinburgh, UK

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#42 Post by Finch » Fri Feb 28, 2020 9:03 pm

cdnchris wrote:
Sun Feb 23, 2020 1:44 am
I don't know how well this will do, though. I went to one of the only screenings in my area and the theater was dead. A couple people walked out, and the reactions afterward were not good. Hoping my screening was just an outlier.
A lot of people don't like films that don't give them an easy out. This was not entertaining in the sense of "we just want to scare you a little for two hours" and not everyone is going to appreciate
SpoilerShow
the film's refusal to even provide a glimmer of hope. But that's one reason I love it. It's so upfront and honest about there being no escape from this vicious circle
.

nitin
Joined: Sat Nov 08, 2014 6:49 am

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#43 Post by nitin » Sat Feb 29, 2020 4:30 am

Another one in the praise camp here although I did think the pacing was a little too much on the glacial side.

The mood however is fantastic, Keough is as interesting as she is always in but this is probably the first time she had to anchor an entire movie, and the narrative issues for me paled in the face of the thematic complexity which was executed very well (loved the sneakily done switches in perspective from the kids to Grace).

User avatar
The Curious Sofa
Joined: Fri Sep 13, 2019 6:18 am

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#44 Post by The Curious Sofa » Wed Apr 29, 2020 3:10 am

Goodnight Mommy was great till its plot twist which took it into overly familiar direction.
SpoilerShow
I preferred the possibility that the mother really was someone or something else under her bandages, than a rerun of the twist from Robert Mulligan's The Other.
I thought the twist in The Lodge was great as it toys with one of the most tired twists
SpoilerShow
(they all are dead and in purgatory) when that turns out to be a gaslighting prank gone wrong, which is psychologically devastating. There were times when I was questioning whether it was the children along the way, I thought Grace might have developed an alter ego due to the lack of access to her meds.

The next time Fiala and Franz need to find a villain other than the children though.

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#45 Post by therewillbeblus » Wed Apr 29, 2020 8:35 am

SpoilerShow
I can’t get out of my mind how smart this film is in turning the tables. We empathize so strongly with these children by living in their skin through grief, getting emotionally gaslit, and the only power they have left in comfort taken away in the first act by the insertion of a new stepmother -who we have judged too before we even met! So when our surrogate alignment switches to Grace (an impressive feat by itself) and we begin to doubt the children’s motives, it’s challenging to fully embrace that idea because of our compassion for them, and even personal experience since we’ve lived parts of their pain through the process of joining.
The Curious Sofa wrote:
Wed Apr 29, 2020 3:10 am
The next time Fiala and Franz need to find a villain other than the children though.
Maybe, but if so only because I don’t see how they can top this use of them. I can’t imagine how difficult it is to work the audience to assigning this much accountability to little children in the end, especially after what they’ve been through, but this film did it with wild success. If they can find a fresh avenue, I’ll gladly welcome another creative twist on the trick.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#46 Post by mfunk9786 » Wed Apr 29, 2020 12:19 pm

Bizarre that this hasn't had a digital release yet with the Blu-ray (which includes a digital code!) less than a week away.

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#47 Post by therewillbeblus » Wed Apr 29, 2020 12:47 pm

It hasn’t? I’ve seen it pop up on sites-not-to-be-named in 1080p as of a few days ago.

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#48 Post by mfunk9786 » Wed Apr 29, 2020 2:46 pm

therewillbeblus wrote:
Wed Apr 29, 2020 12:47 pm
It hasn’t? I’ve seen it pop up on sites-not-to-be-named in 1080p as of a few days ago.
I meant legal channels. Surely those are rips from the disc.

User avatar
therewillbeblus
Joined: Tue Dec 22, 2015 3:40 pm

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#49 Post by therewillbeblus » Wed Apr 29, 2020 2:53 pm

Yeah I guess, usually I don't see those come up until a digital copy is live so I was confused. Hopefully more people weigh in on the film once it drops next week. Lord knows we have the time, and in a deranged way it's the perfect quarantine film...

User avatar
mfunk9786
Under Chris' Protection
Joined: Fri May 16, 2008 4:43 pm
Location: Philadelphia, PA

Re: The Lodge (Severin Fiala and Veronika Franz, 2020)

#50 Post by mfunk9786 » Thu Apr 30, 2020 3:06 pm

Update: Digital release will be day and date with the Blu-ray, May 5th

Post Reply