In A House, At Night

In A House, At Night is a bold and imaginative horror with monsters that are upsettingly real. Tomas Ferreira’s short is difficult and heartbreaking, but brought to life impressively if confusingly at times.

The film follows 7-year-old Lynn (Honor Davis-Pye) and her mother Alice (Moa Myerson), who are taking refuge at a women’s shelter on a Halloween night. Lynn misses her old home, and daringly sneaks away to find it despite her mother’s warnings. Alice is left devastated by her abandonment, whilst Lynn is haunted by the torment of other women at the shelter as she finds herself alone. Both contemplate steps that come with great risk, as they ponder whether they can withstand the isolation.

In A House, At Night is unique. Certainly not a conventional horror, but not really a drama either. Tomas Ferreira’s short stands out as a devastating reflection on the aftermath of domestic violence, and how the real horror survivors experience does not stop when the abuse does. Alice’s trauma and torment follow the mother-daughter pair throughout the shelter, as uncertainty and fear emerge in both of their psyche’s – a result of an unseen monster’s actions. The film confronts the viewer with harsh truths in a thoughtful and psychological manner. Traditional methods like jump scares do not leap at the viewer – but one is forced to confront an atmosphere of fear.

Honor Davis-Pye is exceptional as Lynn – a confused 7-year-old child unable to comprehend how her and her mother’s lives have been turned upside down. Her portrayal of trauma belies that of an actor far beyond her years, with an innocence at the heart of the performance that understands something bad has happened, yet yearns for the life she has only ever known. Sneaking away from her mother is not an act of spite despite the hurt it causes, and the growth she experiences from her defiance is evident by the film’s end. Davis-Pye’s mannerisms and enigmatic flourishes make Lynn steal the show.

The film is visually gripping and equal parts artistic and mysterious. There are moments where the lingering shots of gloves or static TV screens feel a little too much like an art exhibition. But sequences of Lynn’s exploration or Alice’s tormented isolation are brilliantly executed. Ferreira uses sensual blue and purple lightings for the safety of the parental relationship, before imbuing sickly yellows when Lynn finds herself alone. These scenes are where the ‘horror’ elements come to the fore – with more familiar angles also becoming prominent. Some of it is simple fare, but it is very effective.

In A House, At Night is not designed to be easily legible, even though it wears its themes on its chest. Tomas Ferreira’s film forces the viewer to ask themselves questions about it, and search inward for deeper meaning. For those looking for meaningful and thoughtful filmmaking that defies tradition or categorisation, this short is well worth a watch.