Barbarian Review: Unforeseen Depth

Barbarian shocks with its narrative depth and engaging camerawork.

When viewing the initial trailer for Zach Creggers Barbarian before my screening of an already horror masterpiece Nope, I felt I was watching a trailer for the next big genre flop. It is a repeated pattern in modern horror; implementing recent elements of modern life and forcing them to be “scary” only to come off as corny instead of creepy or creative. Already being only half a horror fan, this thought could have been personal bias, but a horror film about a spooky Airbnb sounded a bit, for lack of a better term, forced contemporary. It’s a ploy that draws viewers in because, gasp, what if this happened to you? 

Luckily, Barbarian manages to avoid the cliches of the modern horror film to become something not only genuinely entertaining on a level I was not expecting, but unique in a landscape of generic flicks and popcorn entertainment. And, perhaps, that’s the biggest compliment I could give to this film: it turned out to be much more than a “turn your brain off” endeavor. Instead, through its mobile cinematography, thematic development and fearlessness to subvert expectations, Barbarian succeeds in nearly all aspects it seeks to accomplish. 

Opening on documentary researcher Tess arriving at her airbnb in a shambled area of Detroit, Barbarian sets a precedent in its opening minutes, one that promises quality engagement through visuals. As Tess leaves her car, the camera follows her with shocking mobility, immediately grabbing the viewers attention by managing to make the simple walk to a front door both eerie and visually unique. I was shocked that in the opening minutes, Barbarian had already proven me wrong by displaying a unique visual voice. As Tess struggles to find an answer to her airbnb being occupied, tension builds with more clever camera work, careful silhouetting, and Bill Skarsgard’s excellently off putting performance. In fact, I should note here before moving on that every performance is wildly effective, introducing me to actors that will undoubtedly have a Mida’s touch for whatever projects they work on in the future. From here, the opening sequence continues to reveal everything that makes Barbarian work: turning real life scenarios into gripping tension through stellar performances, fascinating camera work, excellent pacing and risky subversion.

For those who have seen the film, the moment I am referencing is clear. There is a moment early on that shocked and engaged me to a degree I, again, was simply not expecting. Cutting from one side of the country to another, from seemingly insignificant story to the main plot, is not an advisable narrative technique, but makes for a catch all way to hook the audience when done well. And, boy, is it done well here. The cuts to these initially tangential stories are at first glance, nothing more than interruptions. However, the narrative techniques utilized allow for the audience to both take a breath and become only more engaged. Forcing the viewer to sit and wait in anticipation is effective for crafting a narrative one can sink their teeth into, and while some moments drag to the point where that allure is lost, Barbarian’s bravery in narrative structure is worthy of praise, if not only for the fact that they manage to pull it off. Meaning, while the film does at times feel disjointed, it ultimately comes together in the end both narratively and thematically, which is what keeps Barbarian from devolving into another generic attempt at horror.

From the moment the film begins, there is a single perceived threat: men. While some (the wrong crowd, I might add) will inevitably find this movie “too woke” in its messaging, I found the thematic development to be the greatest strength of the film. Behind successfully managing to give me a few scares with the aforementioned impressive camerawork and editing, Barbarian’s seemingly loose narrative is tied together through the personification of the fear of maternity. Reviews have complained about Tess’ character being unrealistic, having her make decisions that “no real person would make.” However, this complaint is null and void when framing it into the larger thematic network the film expertly crafts with its narrative beats. Let me break it down (spoilers ahead): A woman, Tess, arrives at an airbnb where an unsettling man occupies her same space. As Tess uncomfortably enters, the camera too moves through the door frame, visualizing the horrific entrance of one seemingly dangerous space to another. Again, even entering a home is tense in Barbarian. Eventually, we learn of the house’s secret, a series of tunnels lining the basement where a freakish product of incest reveals itself in terrifying excess. However, we only see this monster due to Tess’ compulsion to save Skarsgard’s character leading her back into the tunnels she just managed to escape. Again, some call this unrealistic, while others will see the thematic nuance at play. Cut to AJ, a hot shot celebrity capable of anything but being a functioning member of society, being told he has been accused of doing very bad things to a co-star. It is later revealed that these accusations are true when AJ arrives at his rental property, the very Airbnb Tess is currently trapped in, and Skarsgard’s corpse rots below. Again, we are shown a terrifying man, one that will also require Tess’ saving by act 3. When Tess manages to escape, she feels a need to go back and save AJ, a certified rapist, despite everyone’s better judgment. Once freed, Tess, AJ and a local homeless man search for safety. When there is none, AJ proclaims his guilt and vows to help Tess in the same way she saved him…until it comes time to act. Instead of saving Tess, he tries his best to sacrifice her for his own safety, and when the opposite happens, we learn not only of AJ’s true despicableness, but the monster’s genuine intentions. In fact, this monster wants nothing more than to be a mother, mistaking killing for kindness when treating her “babies.” A somber look from the creature to Tess in the final moments of the film certifies their connection: both are framed as having an inherent empathy for others, forced into a role that has them constantly sacrificing themselves for the benefit of others. Meaning, Tess’ actions are not ones of stupidity, it is not a narrative oversight that Tess tries to save two men presented as unsafe and dangerous only to be put in worse situations as a result. Again, while some may see logical inconsistencies, I see a commentary on the ways in which women are forced into positions of unwavering, detrimental generosity, lest they be viewed as a monster.

There are further aspects of the film that tie into this thematic through line, but this brief analysis is hopefully enough to show that Barbarian is more than meets the eye. Much like the cozy Airbnb in a dilapidated Detroit, which the film problematically uses as a conduit for fear, Barbarian has unforeseen depth. What I expected to be the next horror movie about Tinder ended up being beyond a pleasant surprise and managing to enter true recommendation territory. While Barbarian is by no means the next horror masterpiece, it checked off nearly all of my personal boxes for great horror: fear through visuals, thematic depth, an engaging narrative, and subversions abound. So, take the plummet into Barbarian and become lost in its tunnels of plot threads and themes until it ties together into a beautiful, complete package.