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Swallow
3.5 (81%) 658 votes
Swallow

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  • Reviews - Hunter, a newly pregnant housewife, finds herself increasingly compelled to consume dangerous objects. As her husband and his family tighten their control over her life, she must confront the dark secret behind her new obsession
  • countries - USA
  • 2019
  • Audience score - 3857 vote
  • Carlo Mirabella-Davis
  • genres - Horror

Critics Consensus Swallow 's unconventional approach to exploring domestic ennui is elevated by a well-told story and Haley Bennett's powerful leading performance. 90% TOMATOMETER Total Count: 96 71% Audience Score User Ratings: 114 Swallow Ratings & Reviews Explanation Swallow Videos Photos Movie Info On the surface, Hunter (Haley Bennett) appears to have it all. A newly pregnant housewife, she seems content to spend her time tending to an immaculate home and doting on her Ken-doll husband, Richie (Austin Stowell). However, as the pressure to meet her controlling in-laws and husband's rigid expectations mounts, cracks begin to appear in her carefully created facade. Hunter develops a dangerous habit, and a dark secret from her past seeps out in the form of a disorder called pica -- a condition that has her compulsively swallowing inedible, and oftentimes life-threatening, objects. A provocative and squirm-inducing psychological thriller, SWALLOW follows one woman's unraveling as she struggles to reclaim independence in the face of an oppressive system by whatever means possible. Rating: R (for language, some sexuality and disturbing behavior) Genre: Drama, Mystery & Suspense Directed By: Written By: In Theaters: Mar 6, 2020 limited On Disc/Streaming: Runtime: 94 minutes Studio: IFC Films Cast News & Interviews for Swallow Critic Reviews for Swallow Audience Reviews for Swallow Swallow Quotes Movie & TV guides.

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https://m.facebook.com/story.php?story_fbid=926467044481193&id=100013537184068 #thistrackisbeautiful. Has it ever happened before? Laughs in muslim. To describe how he approached his new consumption thriller Swallow, Carlo Mirabella-Davis reached for a food metaphor. "I really liked the idea of a sort of tiramisu of genres, " he says. "We would have the psychological horror, the body horror, but would also have the dark comedy elements, which help the medicine go down. " Mirabella-Davis, along with star and executive producer Haley Bennett, have made one of the most impressively squirm-inducing movies in recent years -- now in select theaters and available to rent on VOD -- in which the act of eating is rendered alternately disgusting and thrilling. Bennett plays Hunter, the wife of a wealthy businessman who spends her days making sure their gorgeous Hudson Valley home is pristine and his dinner is ready when he gets home. In the early scenes, Hunter appears subservient and overly grateful for the chilly affection her husband Richie (Austin Stowell) and his parents offer. But her persona starts to shift upon learning that she's pregnant, and her cry for help manifests in a disturbing fashion: She begins to eat indigestible items. It begins with a marble and then spirals into even more dangerous materials: a tack, a battery, a safety pin. Hunter treats each thing she swallows like a prize that will reemerge. She fishes it out from her excrement, washes off the blood and stool, and places it on a mirror. "In a way, the objects become secondary to the emotional experience that Hunter realizes she has with the objects, " Bennett explains. "They all become kind of substitutes as if they were a drug. " Recommended Video Send Foodz: Chicago Classics IFC Films For Mirabella-Davis, Hunter's tale is a riff on a personal one. His grandmother was, by his description, a homemaker in an unhappy marriage who developed "rituals of control, " including obsessive handwashing. "[She] would go through four bars of soap a day and 12 bottles of rubbing alcohol a week, " he says. His grandfather had her committed to a mental institution, where she was given electroshock therapy, insulin shock therapy, and a lobotomy. "I always thought there was something punitive about it, that she was being punished in a way for not living up to society's expectations of what a wife or a mother should be, " Mirabella-Davis explains. "But as I was adapting the story, I realized handwashing is not very cinematic. " Eventually, he came across a picture of the contents of someone's stomach who suffered from pica, the eating disorder that Hunter has. "They were fanned out in this beautiful array, kind of like an archaeological dig, " Mirabella-Davis says. "And I was fascinated and I wanted to know what drew the patient to them. It almost seemed like Holy Communion or something mystical. " When Haley as Hunter swallows an item and cinematographer Katelin Arizmendi closes the camera in on her face, there's a sense of relief mixed in with her pain. "I think with each object there's a different experience, " Mirabella-Davis says. "The marble has something prismatic about it. There's something magical. It recalls maybe a happier time in your childhood. " The thumbtack, Bennett says, turns into a "dangerous liaison. " The director reached out to Dr. Rachel Bryant-Waugh, a clinical psychologist with a specialty in treating eating disorders, to read the script. She wrote an evaluation of Hunter as if she were a patient, and was ultimately a consultant on the project. Even though Swallow is not a period piece -- Hunter plays a Candy Crush -esque cell phone game as she waits for Richie to return home -- Bennett and Mirabella-Davis wanted the initial design to evoke both '50s glamour and the "malignant" sexism that comes with that. "Idealizing women and women idealizing themselves in some ways to please, to get love, 'this is what I'm supposed to do, this is the role that I'm supposed to fulfill to be loved, '" Bennett says. Bennett bristles when I use the term "Stepford wife" to describe Hunter's starting point. "That word is just the bane of my existence, " she says. But she does start by evoking a regressive idea of the female spouse that she then deconstructs. She decided to use an affected voice, a "Marilyn husk" that slips away as the character evolves. The rigidity of Hunter's hair and wardrobe also shifts over the course of the film. "Hunter starts very colorful and as the film progresses she's literally drained of her life force and her color, " Bennett says. Arguably what's most surprising about Swallow is what it becomes. By the end, it's less of a horror movie than a pure drama. Rather than leaning more heavily on the grotesque elements of the narrative, it's driven by Hunter facing her own traumas. The manicured aesthetic dissolves as greys begin to dominate the palette. Bennett and Mirabella-Davis are cautious about talking about the ending -- they don't want it spoiled for audiences -- but Bennett says, "The ending is something that has rarely been approached. " When Hunter swallows something in the final moments of the film, the meaning behind the act has changed. It's rebellion, but the kind that evokes a quiet calm instead of a cry of distress. Need help finding something to watch? Sign up here for our weekly Streamail newsletter to get streaming recommendations delivered straight to your inbox. Esther Zuckerman is a senior entertainment writer at Thrillist. Follow her on Twitter @ezwrites.

Yes. What a nice feeling. Τα σπαει. Their voices meld so gorgeously together, and Gaga is phenomenal. Bradley is no slouch either. These two give me chills, cannot wait to see this movie. I dont know where to gooo... I wanna stay here. The amount of work put into this song makes it amazing. Crazy to remember the time when Gavin was a bigger star than Gwen. or was it ever the case. Who's here after they won the Oscar. It’s called pica, and it involves wanting to consume things that most folks would consider completely inedible. You might have heard it mentioned on TV, or come across it in an article on psychological disorders. Hunter Conrad (Haley Bennett) has no knowledge of the phenomenon whatsoever; it’s not something that she would conceive of in a million years. All this young woman knows is that her husband Richie (Austin Stowell) is handsome and successful, their house could have come out of a modern-deco magazine spread, money is not an issue, and their life is good. This is what Hunter is told, again and again. Their life is good. Except…well, she feels a little alienated from it all. More than a little alienated, in fact. She wanders around their gorgeous abode, dressed like a 1950s housewife — her wardrobe seems like an endless array of vintage swing dresses and heels, all June Cleaver chic — while waiting for her husband to come home from work. Hunter seems slightly distant, as if she’s fading away, or maybe one casserole away from going full Stepford. When Hunter gets the news that she’s expecting, it doesn’t really feel like it’s hers (“We’re pregnant! ” Richie says to everyone). Nothing feels like it is hers. Not the home, not the clothes, not the marriage. Not her life. So one day, while trembling on the edge of an existential panic, Hunter looks down at a red marble she’s holding in her hand and…she swallows it. It’s a pleasant sensation. Later, she “retrieves” and cleans the object. This is Hunter’s little secret. It is hers. She places the marble on a tray. Soon, it will be joined by more “special” objects, like a push-pin, a rock, a thimble, a lock, a chess piece, the upper half of a porcelain figurine…. An eerie empowerment parable embedded in a domestic horror movie (or is it the other way around? ), Swallow premiered at last year’s Tribeca film festival, where it nabbed Bennett a much-deserved Best Actress award and spent the remainder of 2019 worming its way around the genre-fest circuit. IFC Films slipped it into theaters for a brief run earlier this month before pivoting it to a number of V. O. D. and purchase-to-stream services — the fact that it happened to hit them just as people found themselves in need of a lot of home-viewing options is, obviously, a coincidence. But this is where folks have begun to discover writer-director Carlo Mirabella-Davis’ shocking, and shockingly good, portrait of an unraveling, and you don’t have to suffer from this compulsion to feel like it’s a horror movie for our collectively helpless moment — its currency is a loss of control. The timing somehow feels right to dip into this DSM-friendly thriller, provided you have the stomach for it. This is not an easy watch. There is, however, a lot to chew on here. To invoke “empowerment” is not to suggest that Swallow is a pro-pica movie. It doesn’t try to sell the disorder as something positive or fun. The fact that Hunter initially derives joy from ingesting any number of inanimate objects that are most definitely not meant to be eaten isn’t an endorsement. Nor does the movie shy away from the consequences — you will see a toilet splattered with blood. (If you’re still reading this after that last sentence, you have our respect and our deepest sympathies. ) When her secret is eventually discovered, Richie and his parents — played with perfect aristocratic condescension and remove by Elisabeth Marvel and Veep ‘s David Rasche — immediately send her to a psychiatrist. They also assign an in-house “nurse” to watch Hunter and frisk her before she goes to the bathroom. It’s for her own good, naturally. But she is the picture-perfect wife who’s carrying the family heir, after all. And that’s where Swallow once again reminds you that this woman is not only feeling disconnected from her world, she’s also being quietly suffocated by the roles she’s expected to play. For the film’s first half, Mirabella-Davis, cinematographer Katelin Arizmendi and a kick-ass production design team make everything seem colorful, luxurious and below-zero cold. The dresses are uniforms. The house is a deluxe prison. Hunter is paraded around and embarrassed by her spouse, a show pony he nudges into telling a humiliating anecdote from her childhood. (She doesn’t get to finish it, because her father-in-law interrupts her. ) Richie’s mom criticizes her hair. A business-associate creep demands a hug; she ends up needing that intimate moment, but it’s still this dude’s go-to party trick. She can pick out drapes, but can’t control her fate — and “control” is what Hunter gets out of this compulsion, extreme measures or not. Her body, her consumption of a miniature screwdriver, her choice. The cryptic quality of Swallow ‘s first two-thirds is what lends the movie its inherent sense of unshakable creepiness and unnerving wooziness, as well as keeps things just south of being sensationalized. When a potential reason for the affliction is revealed, the film slowly loses its power over you; it’s hard not to feel like you’ve gone from David Lynch to Lifetime-movie-with-benefits. But the switcheroo is necessary, in that connects one trauma to another, and ties a possible reclamation of a crime to a slightly more benign take-back. Misogyny is a monster with many faces, a lot of them normal. It’s the same central conceit behind the recent Invisible Man remake, which also uses a horror-movie format to comment on the evil that men do and the ways women inevitably suffer because of it. The two movies do feel like kindred spirits, though Swallow may be the more subversive of the pair. It ends with a moment of closure that feels both freeing and like the equivalent of a slap. And as a number of women walk in and out of the frame before the final fade-out, you realize that any one of them might be just like Hunter. Maybe even all of them.

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Watch Swallow Movies Online. Movie was amazing, great job on all the songs singing and lyrics, as well as acting- Very touching, a movie many can relate to. Bush carried grunge when it was over. Underrated band.

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