Panic Fest Film Review: “Dawn Breaks Behind the Eyes”

Starring: Luisa Taraz, Frederick von Luttichau and Anna Platen
Directed by: Kevin Kopacka
Rated: R
Running Time: 73 minutes
Dark Sky Films

What happens when a couple inherits a big haunting castle? Margot (Taraz) and Deiter (Luttichau) have a lot of work to do, and while neither seen worried about the creaking and dark corners lurking around the castle, both are terrified by something in the cellar, so much so Deiter doesn’t even want to go down there again. Sounds like a great horror film set-up, right? “Dawn Breaks Behind the Eyes” isn’t a horror movie though, and honestly, I’m not sure what genre it fits in other than made-up ones mouthed by people on an acid trip.

Talking anymore about the plot behind this film would give a lot away, even though it appears I said next to nothing about the script or motives of the characters. I don’t want to spoil a film, regardless of how niche it is. I will say the twists and turns the movie takes are surprisingly interesting and inventive for a film that appears to be a general homage to European horror films of the 70s. While the film isn’t a tribute, the aesthetic it’s going for allows for it to evolve and flow naturally throughout its peculiar tale. I would say I’ve seen films that have done what it does better while I’ve also seen films, like “mother!,” fail spectacularly at what “Dawn Breaks Behind the Eyes” is going for.

A little while ago I reviewed “Strawberry Manson,” a film that I would almost consider to be a cousin of “Dawn Breaks Behind the Eyes.” There is this indie vibe that radiates throughout the film, despite the fact some scenes are so impressive they could be in any modern-day blockbuster. The relation between the two films appears to be one of ambiguity. Both films have a distinct message, but it’s so layered under popping visuals and a thick atmosphere. Layering it on the original message allows the story to branch off into different notions and ideas. Both films are a head trip, providing some sustenance throughout their brief runtimes while ultimately leaving a curious viewer hungry for more. The only problem is, I’m not sure I could watch either movie ever again.

There’s plenty of fine or even great movies I’ve only watched once. I thought “Walk the Line” was an impressive biography about one of country music’s greatest acts, but I have no interest in rewatching it. So, while rewatchability isn’t a defining factor of whether something is good or not, it does beg the question why something so curious and unique doesn’t elicit an emotion that makes me yearn for a second or third helping. I equate this to the “Infomercials” that Adult Swim airs. The line between “surprisingly rewatchable” and “once is enough” is so thin in these surreal ideas, the scale could tip either way because of the slightest thing. For me, the movie is mystical, but also kind of straightforward in that you either get it or you don’t so you won’t have to worry about watching it again to see what you missed. In that regard, “Dawn Breaks Behind the Eyes,” is worthy of a gander, especially since you’ll know right away if you’re in tune with it’s funky vibes or turned off by its puzzling madness.