Editor’s Note: This article contains spoilers and trigger warnings for sexual assault for “Barbarian.”
Released in theaters on Sept. 9, “Barbarian” written and directed by Zach Cregger, is a cautionary tale for Airbnb guests as it follows the horrors of a booking gone extremely awry.
The horror film follows Tess Marshall (Georgina Campbell) who finds that her Airbnb has been rented out by a stranger, Keith (Bill Skarsgård). He encourages her to stay for the night, but Tess remains skeptical — later expressing how dangerous life can be as a woman and that she would not do the same for him if the tables were turned.
While this place feels nothing like home, the inevitability of the two becoming friends unfolds before the film takes a wild turn.
Tess discovers a secret room after her desperate search for toilet paper results in her being trapped in the basement. Although her curiosity could upset viewers, her cleverness is quickly redeemable. To combat the darkness, Tess props up a mirror against stacked chairs to reflect light into the dimly lit spaces of the unknown.
It is only then that we finally reunite with Keith, but all relief is short-lived when a new character is introduced — The Mother (Matthew Patrick Davis).
The chemistry between the two roommates could not be less noticeable, yet the film urges you to participate in this suspicion-laden setup. The first hour perpetuates Keith as a walking red flag until it is revealed at his death that he was only a red herring.
Cregger’s known tactic to subvert the viewer’s expectations can split some audiences, especially as we partially conclude the story of Tess and Keith with such a head-splitting kill.
Tess’ fate is left unknown as the film pivots to the perspective of AJ (Justin Long), a narcissistic writer-producer whose lead actress has accused him of rape. His sudden financial strife brings him to the Airbnb, but something else drives him to explore its perimeters.
AJ, much less likable and charming than his male counterpart, makes it hard to properly gauge whether or not viewers want to root for his character’s survival. However, his negligent actions generously provide the anxiety-ridden experience with fleeting moments of comedic relief.
However, the further viewers descend down into the tunnel, the further they delve from the film’s tone of thriller and deeper into the film’s taste for horror.
Fueled by his own narcissistic gains, he discovers the basement and explores its cavernous spaces with a measuring tape. This likely sheds some truth on Tess’ earlier discussion on gender disparities as AJ incautiously explores the tunnel without the fear for his own safety, unlike Tess who never is able to let her guard down as a woman.
In a room of filthy rags basking in purple hues — immediately reminiscent of the violet tones of the title card — AJ discovers The Mother’s room. In the center of the room is a television with a breastfeeding tutorial video playing on a loop.
Later in the film, this is revisited in a painfully uncomfortable scene of unlikely karmic justice as AJ is forcibly breastfed by The Mother, serving as one of the film’s most barbaric moments. In another horrific scene, she attempts to feed her “babies” with her long strands of black, unwashed hair sticking to the tip of the baby bottle.
The film delivers one final twist to reveal the nurturing side of The Mother, who desperately tries to aid Tess’ injuries as if she were her own baby.
The climatic pacing of the film relishes in its slow-burn, delayed responses to the audience’s confusion. “Barbarian” plays a cat-and-mouse game with its countless red herrings. Each twist and turn of the film feels like a whiplash. Still, there’s eventually a payoff of relief for those who can endure the suspense.
The grippingly fresh structure of the film ironically aligns with Tess’ character arc. Tess survives by realizing that The Mother’s actions are not of malicious intent, but rather, a decades-long indoctrination of motherhood.
However, her payoff for enduring adversity is similar to Cregger’s stylistic directing. She gains The Mother’s empathy but immediately betrays her trust by killing her. Although Tess’ survival feels seemingly rewarding, the film throws one last bone to its audience with The Ronnette’s “Be My Baby” playing over the end credits.
The Mother’s only goal was to provide her motherly love, which the film’s last touching moment between the two and witty song choice hammer home. As the saying goes, there is no love like a mother’s love.
Raymond Dinh is an Arts & Entertainment intern for the Fall 2022 quarter. He can be reached at raymontd@uci.edu.