Glasshouse Review: Dreamy Sci-Fi Proves Restraint Does Well In The Apocalypse
Memory is a tricky thing and, roughly two and a half years into a worldwide pandemic, many people are grappling with what they remember or what some people are choosing to forget. Glasshouse — a movie about a pandemic that affects memory dubbed «the shred» — questions the importance of memory and what use it has to people when it becomes worthless to most and precious to very few. Underscored by a sinister sweetness that feels rotted by the botanical hothouse it is set in, Glasshouse proves that restraint does well for the apocalypse and, even though the ending feels somewhat inevitable, there's beauty in it anyway.
Glasshouse follows three sisters — Evie (Anja Taljaard), Bee (Jessica Alexander), and Daisy (Kitty Harris) — living with Mother (Adrienne Pearce) and their shred-addled brother Gabe (Brent Vermeulen) in the titular home, safe from the airborne toxin that sours people's memories and turns them into mindless predators. Awaiting the return of their brother Luca, who left them when he was just a teenager, the family tends to their garden and kills anyone who approaches their sanctuary, eating the good parts and using the rest of their bodies as warnings against other trespassers. When an injured man (Hilton Pelser) arrives in their little Eden, their lives are thrown off balance by the new addition, who seems curiously unaffected by the shred. Could it be Luca, returned to the sanctuary at last, or is it just a random stranger, sent by the world to disrupt the few bits of peace they've crafted in their solitude?
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Glasshouse most notably evokes The Beguiled, remade in 2017 by Sofia Coppola but originally brought to the screen by Clint
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