Quiet, guttural, and violent, Aïda Ruilova’s Goner (2010) is an intimate and full throttle engagement with the unknown. A young woman, clothed in only a long t-shirt and underwear, is covered in blood and alone in a bedroom. Laying face down when we first see her, with gashes at her ankles, the battle between her and the room in which she’s contained plays in an endless loop. Punching, stabbing, screaming, staring; she fights the small world around her. Heightening the sense of unease and inescapable containment are the ambiguities as to whether she is really alone, who or what is assaulting her, or if the room is even hers. Camera perspectives shift from an all-seeing eye to a personal gaze that becomes our own. The perverse imagination runs wild.
From the aesthetics and narrative established in the Italian giallo to the cliche tropes in the American slasher, Aïda Ruilova embodies the cinematic history of the horror film girl in under ten minutes. Goner is a rather forceful gesture towards acknowledging all the cultural and political implications associated with the complicated role of the young woman in horror film (the ‘final girl’, the survivor, the redeemer, the victim). Her evolution of weakness to strength unfolds before us as she becomes unwittingly involved in a landscape of life and death. At once an indulgence in stereotype and a liberation from that stereotype, the horror heroine is a violent and hyperreal representation of what is means to be a woman in the world.
And what better space to pinpoint this disjuncture between the life and death of women than in the architectural realm of the home, the bedroom? With a heart shaped bed, the girl in Goner is in a position of desire and longing but as the room distorts, the idea of pleasure becomes one of intense pain. Here the psychological discord of a woman coming undone in her own home echos the sad intensity of Roman Polanski’s Repulsion (1965) in which a beautiful woman loses her insanity when alone and trapped in her apartment. It also makes reference to the physical and sexual assaults inflicted on a young mother by and invisible and ghostly being in 1982’s The Entity. Spanning one hundred years and as many films, from F.W. Murnau’s Nosferatu (1922) to the current The Conjuring (2013), domesticity is the psychological realm where horror and women confront each other head on. This inextricable link between horror, the home, and women is the structural support of Goner as the mystery between a young girl and a living space rages on.