Aegri Somnia (2008, Review) R-Squared Films

Published on July 14, 2010 by Laceration Lacey · No Comments

Director: James Rewucki

Cast: Tyhr Trubiak, Mel Marginet, Warren Louis Wiltshire, Nadine Pinette, Daryl Dorge, Johnny Marlow, Andy Rewucki, Chris Hodgson, Erika Rintoul, Ward Massner, Ashley Hirt, Meaghan Duffy, Nicole Marcynuk

R-Squared Films / NTSC Region 1 / Not Rated / 1.85:1 Widescreen / Stereo / 95 Minutes

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“A fresh hell emerges with every shadow on the wall”, as is the case of Edgar; a bag-eyed bleak-souled walking manifestation of a pestilence birthed by neurosis and misery. Aegri Somnia–Latin for ‘a sick man’s dreams’–follows this truly pitiful shell of a man as he plummets deep down into the pits of a surreal psychosis preceding his wife’s suicide. Canadian filmmaker James Rewucki captured the most profound elements of David Lynch’s Eraserhead and Adrian Lyn’s Jacob’s Ladder with unparalleled precision in his latest film–shot in 2008 in his hometown Winnipeg Manitoba, and soon to be released by R-Squared films. Finally, a film that accentuates the awe-inspiring beauty of the country in which it was produced.

This particular sick man’s dream begins with a snowy haze and a few hauntingly memorable quotes that are suggestive of the underlying motives of the main character. Edgar is a man just barely managing to make it through dreary days of arguing with his wretched wife Muriel about her obsession with the sinister dolls that she spends his hard earned money on in a narcissistic attempt to make their apartment feel more like home. (Can you really blame the guy for going completely insane?) The real issue is the couple’s inability to conceive due to Muriel’s infertility… and for some reason she makes a harsh point of blaming her husband for her own anatomical deficiencies.

The short fuse of Edgar’s dormant dementia is set ablaze by the discovery of his wife’s lifeless body bleeding out in the bath tub. So really, what in my opinion should have been the happiest moment of his life, is more of the apex of his burgeoning despondency, forming a gateway which unleashes his malevolent mind-menace into the encompassing atmosphere of lingering calamity. He attempts to remain existing within the silence and shadows–his solitude often interrupted by questioning co-workers and the peeving princess next door. Edgar soon learns that the shadows have a secret to share; the ghastly atrocities that proceed to pervade his imagination do so with inexplicable intent. To make matters worse, the local authorities are suspicious of Edgar and believe that he played a significant role in the death of his wife.

Despite the fact that Rewucki may have tip-toed down the slightly contorted path of a predictable plot, he managed to do so with such stealth as not to disturb the wondrous weirdness that bleeds through this monochromatic visual masterpiece of virulence. Spine-tingling sound clips that will tear through your eardrums with demonic ferocity and a romantic, melancholic soundtrack that is eerily evocative of the Trent Reznor/Nine Inch Nails’ 1994 maniacal magnum opus The Downward Spiral (specifically the keyboard stuff), provides an auditory ambiance that thoroughly enhances the film as a whole. The music is all done by Manitoba natives–and Rewucki film regulars–Dead Air Animal, with contributions from Dr. Rage of the Winnipeg rock/blues band, Dr. Rage & the Uppercuts. All the more reason for cinephiles to develop a fonder appreciation for independent Canadian artists–filmmakers and musicians alike.

Shot mainly in black and white, with tints of dim red lighting and integrations of colour throughout, the cinematography by Mike Sanders–another Rewucki film crew regular–is absolutely remarkable. It is clearly evident in Rewucki’s films that these guys are two of a kind; a pair made in cinematic heaven. It’s almost as if Sanders actually climbed inside his head and put the director’s ideas down on paper in the form of incredibly intricate sketches, memorizing every fine detail before shooting the film. From the opening quotations to the closing credits, every scene offers stunning visuals. Aegri Somnia will be an instant favorite amongst fans of psychological/industrial/post-apocalyptic thrillers and David Lynch devotees, although much too overwhelming and probably quite frightening for those who’ve never gotten lost in the pitch black of madness and came face to face with the demons. I like to hope that somewhere in the perma-frosted underground of Canadian independent film, Aegria Somnia will gain somewhat of a cult following. I’m itching to see more by James Rewucki.

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