Hippopotamus (2018) Review

Being a lover of independent horror, it’s always great to find a lesser known film lurking on Prime video, and Hippopotamus was one such recent discovery.

The film, directed by Edward A. Palmer, emerges with a premise that might initially lead one to dismiss it as yet another entry into the well-worn captive-girl subgenre. Yet, this film, operating on a micro-budget of merely $5,000, surprises and subverts expectations, demonstrating that innovative storytelling and strong performances can often eclipse high-budget extravaganzas.

Hippopotamus opens with stark simplicity: a young woman named Ruby (Ingvild Deila) awakens in a sterile basement, her knees severely injured, rendering her immobile. Her captor, Tom (Tom Lincoln), soon appears, laying down the chilling premise that she will remain his prisoner until she falls in love with him. This scenario, redolent of many a horror and thriller, sets the stage for what one might expect to be a tale of torment and psychological manipulation.

However, Hippopotamus is anything but conventional. Palmer’s direction steers the narrative away from gratuitous violence and into the realm of psychological intrigue and existential dread. The film’s tension does not derive from the physical brutality often associated with the genre, but rather from the unsettling psychological dance between captor and captive. Tom insists he harbors no sexual intent towards Ruby, a claim she finds difficult to believe, and one that keeps the audience on edge as they try to decipher his true motives.

There is much to like about the film, and one of it’s notable strengths is its handling of time. The narrative is disorienting, with conversations and events repeating, minutes stretching or compressing unpredictably, effectively mirroring Ruby’s confused state of mind. This clever manipulation of temporal perception keeps viewers in a state of suspense, never quite sure of the reliability of what they are witnessing.

Ingvild Deila’s performance as Ruby is a linchpin of the film’s success. She captures a range of emotions – from terror and confusion to resilience and curiosity – with a nuanced subtlety that makes her ordeal all the more believable. Tom Lincoln, as her captor, presents a character that evolves from a seemingly one-dimensional archetype into something far more complex and unsettling. His interactions with Ruby shift from menacing to almost tender, adding layers to the character that are revealed as the plot unfolds.

The film’s single-room setting, a potential pitfall for any director, is utilised to its fullest potential. Palmer and his cinematographer skillfully use the confined space to enhance the film’s claustrophobic atmosphere. Shots through doorways and the strategic placement of objects – like Ruby’s handbag just out of reach – heighten the sense of entrapment and helplessness.

Added to that, Hippopotamus delves into themes of memory and identity. Ruby’s amnesia serves not just as a plot device, but as a profound exploration of how memory shapes our understanding of reality and self. As Ruby starts piecing together her past, the audience is invited to question the nature of truth and the reliability of perception, leading to a climax that is both shocking and thought-provoking.

Though the film doesn’t fail to engage, the final act, while ambitious, introduces perhaps one twist too many. The penultimate revelation is devastating and perfectly aligns with the film’s psychological underpinnings, but the subsequent twists feel somewhat overdone, slightly detracting from the narrative’s impact. Nonetheless, this excess is a minor blemish on what is otherwise a meticulously crafted film.

Palmer’s Hippopotamus stands out in a genre often plagued by clichés and gratuitous content. It combines suspense, emotional depth, and intellectual intrigue.

If you’re looking for an unconventional psychological thriller that defies its modest budget to deliver a powerful cinematic experience, this is for you.

Movie Rating:

Hippopotamus trailer