Osgood Perkins has become a contentious figure of late, as he’s really only become a figure of theatrical release interest in recent years. His first directorial features, The Blackcoat’s Daughter & I Am the Pretty Thing That Lives in the House, premiered after their festival screenings to streaming on DirecTV and Netflix respectively (although Blackcoat’s Daughter got a limited theatrical release after its streaming premiere, presumably for award nomination qualification purposes). Gretel & Hansel got dumped into theaters in the January wastelands and was on streaming within nine weeks. Then came Longlegs, which was boosted by a far-reaching and powerful advertising campaign that none of his previous work had. Longlegs garnered a fair amount of praise and attention, but with the greater visibility that a wider audience provided also came backlash from viewers who didn’t connect with (or outright rejected) his nontraditional narrative & stylistic choices and eccentricities. I loved Longlegs, but I really didn’t care for The Monkey, and for at least some portion of the general movie-going public, those two movies constitute the entirety of Perkins’s body of work because that’s all that’s gotten any widespread attention. Although out of Perkins’s catalog this one is most similar to Gretel & Hansel—a film that I was fairly lukewarm about—Keeper managed to work for me, although I don’t expect it to win back over anyone who’s already disinterested in his work. 

Liz (Tatiana Maslany!), after a lifetime as a “subway dwelling city-rat” for whom a relationship that lasts a whole year is a record, is taking an anniversary trip to the countryside cabin of her beau, Dr. Malcolm Westbridge (Rossif Sutherland). It’s a beautiful, secluded place, and although she seems happy to be going on the trip when talking about it with her friend Maggie, the vibes aren’t all that she had hoped they would be once they get there. There’s not a door in the place other than the one to the bathroom, and it’s all giant windows with no blinds or shades, so although there are gorgeous views of verdant forest available from every vantage point, Liz feels exposed. As Malcolm hangs one of Liz’s paintings in the house, she discovers a cake that was supposedly left behind by the property caretaker, the box containing it having smudged in a way that renders it off-putting. Their peaceful, serene dinner is interrupted by Malcolm’s cousin Darren (Kett Turton), who lives in the neighboring “cabin,” and his date for the weekend, a model named Minka (Eden Weiss) he claims doesn’t speak English, although when she and Liz are alone, she ominously tells Liz that the cake “tastes like shit.” 

Strange things are already afoot. While taking a relaxing bath, Liz begins to have visions of women in period dress from across a couple of centuries, as if they are spirits of the dead come to warn her away from the house. Behind her and out of her sight, something unseen mimics her by drawing a heart in the condensation on the window, as she had mere hours before. In the night, she finds herself drawn to the remainder of the suspicious cake and finishes the whole thing, despite finding what appear to be bloody fingers inside of it, and she is drawn to the nearby babbling brook, where she finds a locket that she begins wearing. There’s something about the way that Malcolm hangs her painting that, intentional or not, signaled a kind of “My Last Duchess” element, which felt like it was being borne out by the Bluebeard-y vibes that Malcolm puts out, especially when he leaves her alone in the house, but we also witness (even if we do not clearly see) Minka meet her death outside in the woods at the hands of an unseen force that doesn’t appear to have any human attributes at all. Liz begins to lose time, waking up with her clothes on backwards despite being alone in the house while Malcolm is supposedly attending to his medical practice back in the city (lending further circumstantial evidence to Maggie’s belief that Liz, despite her protests to the contrary, is being used as Malcolm’s unwitting mistress). But is he? Whatever is happening to Liz is clearly outside of the realm of natural and the real, and the unflattering portrait we get of Darren makes it clear that he may be a real scumbag, but he’s definitely human, and so must Malcolm presumably be. What is happening in these woods? 

Perkins’s work is overwhelmingly fabular, whether he’s adapting an actual fairy tale, as he did with Gretel, or when he’s telling a story that merely has those overtones of spooky campfire stories, or of the pre-sanitization, pre-Disneyfication of older, darker folk stories. That’s what The Blackcoat’s Daughter feels most like to me, a kind of warped “Cinderella” with the all girls boarding school where our first main character is bullied by upperclassmen instead of wicked stepsisters, until she is visited by the darkest version of a fairy godmother one could imagine, with tragic consequences. Setting Longlegs in the 1990s does some of the work that an opening line of, “Once upon a time …” would bring, and the fact that one of the narrative threads revolves around a woman promising her firstborn to an intercessor for spiritual evil bears similarities to several fairy tales. One could even imagine it as a postmodernist take on “What if Rumplestiltskin never really went away?” in the vein of reimaginings like the ones found in the Kate Bernheimer-edited My Mother She Killed Me, My Father He Ate Me anthology. Ultimately, Keeper is “Bluebeard;” even if Malcolm never warns Liz not to go looking in the basement, we do learn that, if she had, she would have found evidence that she was not the first “keeper” he had brought home, even if her ultimate fate would have been unchanged. 

A couple things of note … We can add Tatiana Maslany to the list of performers in dual roles this year that was first mentioned in our Predator: Badlands review, as one of the women in her visions is an 18th Century witch who looked exactly like her. Why this is the case is never revealed; we never get to learn if, perhaps, she is this same woman reincarnated or if this apparent identicality is a trick of perception or degraded memory over time, and while it is important to some characters’ motivations and the overall narrative, it’s not something that needed to be answered in order to enjoy this one, if you’re going to be someone who does enjoy it. It’s worth noting that Perkins only directed this one, from a script by Nick Lepard, whose sole other credit to date was this year’s sharksploitation survival horror Dangerous Animals. The only other instance to date of Perkins directing a film that he didn’t pen was Gretel & Hansel, which was written by Rob Hayes. That might explain why this script doesn’t quite feel like him, as despite its frequent usage of tranquil nature shots to establish the tranquility of the setting as a counterbalance to the film’s unsettling, trepidatious feeling. It’s still full to the brim with slow burns, but it still feels like it’s moving at a pretty good clip, which I appreciated. I hate to reveal too much, but there are some creature designs at the end of this film that are so good, I was disgusted. Nice work, everyone. Let’s hope this one wins some people back over, even if I doubt it will. 

-Mark “Boomer” Redmond