In an age of paint-by-numbers and IP-fueled horror, Tilman Singer‘s latest film Cuckoo is a fresh change that not all audiences will be receptive to. Critics will surely also be divided on this kooky follow-up to the director’s debut, Luz. What this batty genre outing lacks in coherence, however, it makes up for in style, performances, and most of all, audacity.
Looking especially European and outmoded in presentation — by all means this is intended as a compliment — Cuckoo is already a welcome departure from what’s being churned out at many a local theater this year. On the face of things, Singer has dropped a rather gorgeous film shot on 35mm. The natural colors and texture alone are demanding of praise if you crave less point-and-shoot and more individuality in your cinema. The backdrop of the German Alps is instrumental in that overall grandeur as well.
Cuckoo starts out conventionally enough: after an American family moves to rustic Germany, weird things happen. And to everyone other than the main character, all that weirdness is overlooked. No one apart from Hunter Schafer‘s teenage protagonist seems to realize her father’s boss, Herr König (Dan Stevens), is up to no good. Indeed the setup here is old hat, but what exactly those goings-on are is where Cuckoo lives up to its title.
Wherever an uninitiated viewer would expect this film to go, it runs off in a completely different direction before suddenly taking a detour. Cuckoo is not a straightforward experience, and depending on your mileage with atypical horror, that screwy approach is exciting. Singer keeps everyone on their toes as Schafer’s character investigates what looks to be a standard slasher scenario. There aren’t so much red herrings here as they are curveballs of boulder-like immensity.
Cuckoo would not be anywhere as effective (or entertaining) without its two leads. Opposing characters Herr König — bravo on the most unsubtle name — and Gretchen (Schafer) play well off each other despite their disparate portrayals. Stevens’ enjoyably creepy role exists in an unreal space only noticeable by Schafer’s character. The film sometimes borders on comedy as everyone but Gretchen fails to pick up on König’s obvious weirdo cues. Alas, this is one of several glaring elements that pushes Cuckoo further into the realm of surrealism.
The less said about Cuckoo plot-wise, the better. It is recommended to go in with a clean slate and just trust the fact that you will be watching a most peculiar film. Right now, though, it’s also best to get ahead of the inevitable complaints about the plot efficiency and instead focus on what Cuckoo excels in. That, of course, being its valid combination of visual style, technical proficiency — the audio techs deserve a slow clap — and a thoroughly scene-stealing turn from Dan Stevens. This film cements why Stevens should be considered the best character actor in the business right now.
Cuckoo is increasingly quirky, yet it takes itself seriously. That’s reason enough to give this cinematic oddball a chance and, hopefully, make it a new cult classic down the line.
Cuckoo screened as part of Fantasia Fest 2024. The film will play in theaters starting on August 8.
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