Written by Patrick Hao
As In Heaven is probably the most unconventional horror film of the year. The scares don’t come from any ghouls, ghosts, or monsters. But rather the oppressive societal and religious norms set upon women.
A veteran director of Danish television, Tea Lindeburg is making her feature film debut with assured style. Based on a 1912 Danish novel, A Night of Death, As in Heaven follows a day in the life of a 19th century teenager, Lise (Flora Ofelia Hofmann Lindahl). Her home is a pastoral farm filled with boisterous children and austere adults. Lise is days away from leaving to go to school, a position not many women in the community have.
Linderburg is able to shrewdly capture a teenage girl on the cusp of adulthood. She is still young enough to be full of play, but old enough to become desirous. The camera places us into Lise’s perspective, weaving in and out of corridors and fields alongside the children.
Throughout an overwhelming red cloud is cast upon Lise, a very on the nose metaphor of impending doom – the doom being the natural angst created from the tension of strictures of religion and curiosity. This comes to a head as Lise’s pregnant mother begins to have a difficult birth that could end her life.
While the metaphors and themes are on the nose, Lindeburg explores them deftly. She never leaves the POV of Lise as she processes the potential outcomes of her mother’s predicaments. The way Lise views the older adults around her is how we come to view them. From there, the horror develops as the slow realizations of her fate begin to take hold.The 86-minute runtime might be the only thing holding As In Heaven back from being a really great film. Tea Lindeburg packs a lot of ideas into the film, and not all of them get ample amount of time to develop satisfyingly. But, with everything in the news from the vaccination requirement debate to the prevalence of opposition to pro choice rights in Texas, As in Heaven might be one of the most understatedly urgent films at TIFF.