February/The Blackcoat’s Daughter (2015)
- Lucy Boynton as Rose.
- Kiernan Shipka, as Kat
- Emma Roberts, as Joan
- James Remar, as Bill
- Lauren Holly, as Linda
- Emma Holzer, as Lizzy
Director: Osgood Perkins (the son of Anthony Perkins – yes, Norman Bates himself)
Boarding schools are ripe for demonic possession and dastardly plots in general, given the potent mix of hormones, schoolgirl-age jealousies and extreme isolation. ‘February’ takes that scenario one step further, as we follow young ‘Kat’ during a lonely winter break at ‘The Bramford School’. We also also follow the story of ‘Rose’, who’s hitchhiking through the snow with a kindly older couple. As Kat’s unease grows worse during the break, and Joan’s paranoia increases, it’s well worth holding on to learn how these stories converge and how it all links back to the sinister forces lurking in the chilly, semi-abandoned school.
Making a big positive out of its low key vibe, February (also known as The Blackcoat’s Daughter) steadfastly refuses to rush towards its most shocking moments, preferring instead to chill you with endless views of untouched white snow, then glorying in the pitch dark shadows within the frigid school’s buildings. With a muted, groaning soundtrack designed to stimulate unease (but, sorry guys, on the first watch it nearly sent me to sleep) calling this movie ‘bleak’ would be an understatement. It’s dark yet pale and it’s deeply unhappy, and that’s just the schoolgirls. It has surprisingly sympathetic adults too, who are simply unable to comprehend the true darkness at hand.
And oh boy, is there a lot of darkness, in the film and the plot. Expect no primary colours from this at all, just austere shades of bright white and municipal blues, though it has dodged the grimy greenish horror filter that a lot of genre films used to favour. It does make the inevitable splashes of scarlet blood pop from the screen, which works well, and hopefully you’re still watching by then.
So even if I prefer little more warmth and glee in my horror movies, I really want to love this film more than I do, and there is plenty to appreciate. The ending’s gut punch resolution is definitely worth hanging on for, and requires some attention to the subtle clues and a spot of emotional empathy to really figure out – why the fuck did she even do that? Recommended, if you want a low key, creepy horror. In fact, February has kind of grown on me. So if you give it a try, just remember that it saves most of its boldest moves for last. Worth sticking with.