Will and his new girlfriend Kira are invited to a dinner with old friends at the house of Will’s ex Eden and her new partner David. Although the evening appears to be relaxed, Will soon gets a creeping suspicion that their charming host David is up to something.
Nate Bolotin Mynette Louie Anthony Mancilla Aubin Paul Dan Cogan Julie Parker Benello Wendy Ettinger Geralyn White Dreyfous
La invitación, Приглашение, La invitación 2015, Ftesa, O Convite, Поканата, A meghívás, 不吉な招待状, Kvietimas, Zaproszenie, Позив, Запрошення, L'invitation, Poziv, ההזמנה, 비밀스러운 초대, Η Πρόσκληση, Davet, Invitația, La invitació, 致命邀请, 復仇聚會, 詭宴, インビテーション
USA
South by Southwest Film Festival
AustraliaMA 15+
Sydney Film Festival
AustraliaMA 15+
Melbourne International Film Festival
USA
Fantastic Fest
Italy
USANR
Switzerland16
USANR
JapanG
Austria16
Germany16
Australia
Austria
Germany
Italy
Japan
Switzerland
USA
My wife and I got a diner party invitation to one of her co-workers place in the next few weeks. We are not Fucking going!!
So here's the thing.
Foreshadowing is a powerful storytelling tool if used correctly. It can give you a feeling of unease in a story that conveys a sense of normalcy. Without being able to put your finger on it, you get the sensation something is off, making you feel tense without knowing why.
The Invitation gets this. For about ten minutes. What remains is 60 minutes of foreshadowing with bits of story and character development in between. It lacks any and all subtlety. The main character literally keeps telling everyone something is wrong for two thirds of the film.
We get it. You're leading up to something.
I love slow burn thrillers. I love films that start out normal and…
at some point i thought they were gonna start a 10 people weird orgy thing or something... close enough
you tell me if you went to someone's house and their doors locked from the inside you would not get the fuck out immediately
undeniably tense as fuck, Kusama works wonder on a tiny budget and also there's Lindsay Burdge, but this is the latest in a long line of kinda cheap / formally excellent domestic horror stories that feel content to be genre exercises, and deny themselves the opportunity to become more than that. it's a hell of a ride, but it's all surface... it's all putting the right beats in the right places... it works, but it might work too hard.
"... That was mercy."
The destructive, wavelike nature of grief as a communal experience that permeates every space we occupy, every movement we make & every interaction we have. Kusama's formal grace is the obvious star here, the skillful staging and spatial awareness she shows off in particular, but as the film goes on and the screws tighten agonizingly slowly all the way until its haunting final image, Kusama achieves something far beyond form -- her genre thrills woven with a sense of the pervading, inescapable pain that, whether we're struggling to remember or forget, can blind us as easily as it brings us together.
