In the first decade of the 21st century, eastern parts of Europe were arguably the deadliest place to be in for young Westerners, particularly those who lacked a sophisticated understanding of the region or simply didn't care about the depravity and murderous desires lurking beneath the surface of post-Communist transition. The impression one might gather from a survey of the high-profile horror films of that era is that the former Eastern Bloc was a hunting ground designed specifically for disposable backpackers and the culturally ignorant. While Eli Roth’s Hostel is undoubtedly the most notorious and controversial entry in this subgenre, painting a picture of organised torture rings in Slovakia, French cinema was also making a significant contribution to the trend with titles like High Lane (Vertige). In 2006, another example was provided by Them! (Ils), a Franco-Romanian production written and directed by David Moreau and Xavier Palud that fits neatly into this grim catalogue of European home invasion horror.
The film attempts to ground itself in reality from the very beginning with a notice stating that it was "based on real events," a claim that a more experienced fan of the genre would greet with a heavy dose of scepticism. However, the cold open does suggest a scenario that could plausibly occur in real life. The sequence opens on 2 October 2002 in Snagov, a commune some 40 km north of Bucharest. We see a Romanian woman named Maria (Camelia Maxim), and her teenage daughter Sanda (Maria Roman), having a row while driving on a forest road at night. The argument causes the car to drift away and hit a tree. Neither is injured, but when Maria gets out to assess the damage, she simply vanishes into the darkness. Sanda becomes terrified, barricades herself inside the vehicle, and is soon strangled by an unseen attacker who apparently snuck up on her.
The plot then advances a day later, shifting focus to one of the two protagonists, Clémentine,(Olivia Bonamy). She is a Frenchwoman who teaches French in one of Bucharest’s schools. After work, she returns to the huge country mansion in Snagov where she lives with her boyfriend, Lucas (Michaël Cohen). Lucas is supposed to be an aspiring writer, but he is spending all his free time playing video games. Nevertheless, the couple seems to enjoy their isolation in this apparently luxurious piece of property. Yet, that very isolation soon transforms into a deathtrap in the evening. They suddenly realise that the property is stalked by a number of unknown, mysterious, and barely seen intruders. Their goal appears to be something much more sinister than simple burglary. As the power and phone lines are cut off, Clémentine and Lucas realise that they must somehow find a way to survive an attack from someone who is more numerous, determined to kill them, and apparently very knowledgeable about the layout of the property.
Moreau and Palud utilise the home invasion premise here, but they strip it down to its absolute barebones form. The direction is dynamic, somewhat original, but still adequate, relying on a solid foundation of suspense rather than cheap jump scares. There are elements of bloodshed, gore, and violence, but it remains within the limits of what mainstream Hollywood would consider acceptable horror. What sets the premise apart is the somewhat unusual setting and the identity of the invaders—while the film reveals who they are relatively late, it never features anything supernatural, which makes the eventual revelation even more disturbing in retrospect.
Despite the effective build-up, Moreau and Palud apparently suffered from serious budget problems, and a more perceptive viewer might conclude that the film was actually unfinished or heavily trimmed, resulting in a running time of barely 77 minutes. The pacing feels rushed throughout. The final revelation, which puts an ironic twist on the plot and might underline "the banality of evil" as the film's main theme, is communicated not through the visual storytelling that preceded it, but via a notice in the end credits. This approach will leave the audience dissatisfied and frustrated, as the authors' refusal to use the classic "show, don't tell" rule indicates a kind of creative bankruptcy. By forcing the audience to read the explanation rather than experiencing it, they rob the climax of its emotional weight and narrative payoff.
The film is even more disappointing in light of the potential for the premise to provide something more than just cheap thrills. The most obvious avenue for commentary was the tension between the prosperous and arrogant West and the poverty of post-Communist East in the newly united Europe. The class and socioeconomic resentment of the locals could have been a powerful and relevant motive for their murderous actions. Yet, this motive isn't used. Similarly, the setting in Snagov—the area infamous for Romanian government’s controversial plans to build a Disneyland-like theme park dedicated to Dracula—is completely wasted. The film could have explored the clash between the myth of Dracula and the modern reality of Romania+, but instead, it ignores these rich contextual details.
In conclusion, Them is a film of missed opportunities. Its brevity and general adherence to genre principles make it recommendable to less discerning horror fans looking for a quick scare or a background watch, but the rest of the audience is likely to find their entertainment elsewhere. For those seeking a deeper exploration of European horror or social commentary, the film offers little beyond a competent but uninspired execution of a familiar formula.
RATING: 5/10 (++)
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