Skinamarink (2023) | Film Review

The beauty of the horror genre is its sheer ability to cater to anything one can imagine. It is easy to equate the popularity of horror to gore or cheap jump scares, but that is simply a surface-level reflection of the genre. There are demons, slashers, ghosts, monsters, sure. There are also breakdowns of the human spirit, deconstructions of societal failures, and even dissections of familial tropes. The ability of horror to approach any topic and utilize the most experimental avenues available to filmmakers have combined for some of the most memorable films in history, and Skinamarink is here to take a few chances.

Skinamarink revolves around two children, Kaylee and Kevin (Dali Rose Tetreault and Lucas Paul), who awaken to find themselves alone in their home. As the film continues, various visuals and auditory clues are unveiled as to what exactly is happening inside the home – vanishing doors, terrifyingly obstructed faces, haunting overtures – and the conclusion is mostly left to viewers themselves.

Kyle Edward Ball directs Skinamarink from his own script, and I am not understating when I tell you the plot is up for grabs. If you speak with four different people, each will offer a unique take on what is at play here. It appears to this critic to revolve around a child suffering from abuse at the hands of an estranged parent, dancing their way through a nightmarish scenario in their mind as they fight for cerebral survival. You may find a completely opposite solution, and that is the appeal of filmmaking in this dreamlike manner.

One thing I am certain of is that this film will not speak positively to general audiences. Skinamarink is 100% experimental filmmaking as there is nary a single minute with traditional framing. Not one. Every second is filled with uneven shots of doorways, couches, light fixtures, silhouettes of children, odd television commercials, and lots of LEGOs. Not once does the audience clearly understand visually what is happening in any given scene, and for a film of over an hour and a half in length, that takes a hefty toll on the unengaged.

Of course, abstract art need not impress general audiences, and Skinamarink is certainly that. This is a film that can inspire intriguing conversations with film students or scholars, and any time a film inspires discussion it is worth noting. Unfortunately, while the concept is bold and unique, the execution is lacking in engagement, becoming a bit of a challenge to endure for the film’s extended length.

Skinamarink is meant to be impactful, and there are certainly several disturbing moments that will resonate with audience members. Ultimately, the entirety boils down to material more suitable for a short than a feature-length film, which becomes impossible to ignore as each minute ticks by.

While Skinamarink comes up short of potential here, it does announce a daring new filmmaker on the rise in horror in Kyle Edward Ball. A director willing to expand the parameters of what is traditionally allowed and someone who could be making waves in this genre for years to come.

Listen to Aaron’s full review of Skinamarink on this episode of The Hollywood Outsider podcast: