Jessica Kiang “The things of my mother’s that I kept don’t suit the place now,” says Glenda (Nia Roberts) absently as she preps dinner in her modernist sculpture of a house, set on a remote hillock. “They feel … primitive.” Lee Haven Jones’ sharp, striking Welsh-language SXSW midnight movie “The Feast” is designed as a critique of Glenda’s disdain, her casual snobbery toward the heritage and history of the farmland she grew up on.
And yet this austere and engrossing little horror could almost be charged with a similar crime: “The Feast” laments our grasping era’s loss of respect for the ancient land, its flora and fauna and earthy folk culture, but it is itself as coolly, gleamingly modern as brushed steel.
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