Glorious: the review

Glorious is a 2022 film, directed by Rebekah McKendry.

Glorious has the same root as glory hole, the legendary glory hole in the culture and practice of gay sex, consumed above all – as per tradition – in shabby bathrooms and gas stations. But Glorious it also means glorious, worthy of admiration and veneration, in short, what befits a god: it would be a divinity that Wes (Ryan Kwanten of True Blood), a man just left by his woman, stands in front of a gas station bathroom, in the film directed by director Rebekah McKendry. Better to say, he is a kind of god and man is not exactly “in front of him”: when he is trapped in the sordid toilet the voice that speaks to him comes from a closed bathroom but with a hole, from a glory hole. , placed in the center of the drawing of a sprawling creature claiming to be a deity. Thus the desperate Wes, an important name of the genus (Craven, of course), is forced to listen to the creature and follow his directions with the oldest goal in history: to avoid the destruction of the world. In truth, the film has a rather traditional beginning: the protagonist, with a broken heart, wanders aimlessly and arrives at the service station, where he chooses to get rid of his personal effects, the memories and the memories that vanished love leaves behind. .

Following, inevitable, here is the epochal hangover and Wes who wakes up right on the bathroom floor. He could have arrived alone, stunned by alcohol, nothing easier, and instead someone (something …) starts calling him from the closed bathroom, with the voice of JK Simmons who rules the game acting with only vocal timbre, you never see him . Limited budget, simple but effective special effects, molded on fading and the unseen, short film (79 minutes) that avoids any contemporary prolixity, indeed makes its duration an exercise in dryness and conciseness; above all a crazy idea at the base, a Lovecraftian divinity, a sort of huge and horrid octopus that lives in the toilet of a service station. Who says his name is Ghatanothoa who, who has read Lovecraft knows it well, is precisely the firstborn of Cthulhu in the genealogical tree of the creatures of the master. When Ghat, diminutive of the monster, informs Wes that he must do something for him inevitably, in such a situation, the boy approaches the wall and starts to insert his penis into the glory hole …

Rebekah McKendry summons forms of horror with a boundless love for the genre: there is Lovecraft, as mentioned, but also that micro-vein of purple and hallucinated horror that has blossomed in recent years, from Mandy to The color that came from space, which was directly taken from a story by HP. But Glorious it’s still different. His irony is caustic, cynical, relentless: it all lies in the idea of ​​taking an archetype of horror and rewriting it in the form of a homosexual practice. An evil god hiding in a male-only bathroom. And also the hole, another gender stereotype, see last John and the Hole, it becomes another kind of hole here… The concept behind it and the way it unfolds are both fantastic. And is the creature really who it says it is? Is it the devil or is it a hallucination? Will we ever see her? Questions that form in the mind during the vision, admirably conducted by the director and all the cast. If we want to take it seriously, however, the film can be read as a psychoanalytic showdown with itself that will gradually lead to understanding the true nature of Wes, until the final revelation which of course we keep silent. But there is little to be serious here. There is only to have fun, there is only to enjoy.

Glorious: the review – Nocturno