The Girl in the Snow
Inspired by stories from her family’s history, director Louise Hémon taps into elements of folk horror in the chilling winter drama The Girl in the Snow (L’Engloutie). Set at the cusp of the 20th century, the film opens with Aimée (Galatéa Bellugi) arriving in a remote mountain village to teach the local children. Her modern way of thinking quickly clashes with the locals’ deeply rooted traditions, marking her as an outsider. Tensions rise further when one of the villagers goes missing during an avalanche – and suspicions deepen as more men begin to disappear. Anchored by a strong performance from Bellugi and shaped by an engrossing atmosphere, Hémon delivers an intriguing, if occasionally impenetrable, feature debut.
The howling winds and pitch-black darkness that greet Aimée upon her arrival immediately set an oppressive tone, heightened by the narrow aspect ratio and gloomy, candlelit interiors. Impeccable sound design plays a key role in establishing the inescapable sense of isolation and freezing temperatures that define the setting. This is achieved not only through the relentless howl of icy winds but also through the eerie use of music. With its bizarre arrangement of strings, percussion and childlike singing, the score adds a layer of otherworldliness to the small community. A festive gathering featuring period instruments and ritualistic dancing evokes The Wicker Man, expanding on the film’s folk horror aesthetic.
As cold and unwelcoming as the tone can be, this is also a beautifully shot picture. When cinematographer Marine Atlan isn’t emphasising the harshness of the environment through lingering long shots, rare moments of sunshine allow her to capture the region’s natural beauty in breathtaking fashion.
Despite its captivating tone, the picture’s purposefully vague plot can make it difficult for audiences to fully engage with what the filmmaker is trying to convey. A telling note from Aimée’s parents and a recurring folktale about the inevitability of death offer some footholds, but the lack of further context leaves the ambiguous conclusion feeling unresolved.
Hémon blends historical drama and folk horror to fascinating effect in The Girl in the Snow. While its compelling atmosphere and Bellugi’s strong performance are likely to draw viewers in, some may be left frustrated by its elusive, open-ended finale.
Andrew Murray
The Girl in the Snow does not have a release date yet.
Read more reviews from our Cannes Film Festival coverage here.
For further information about the event visit the Cannes Film Festival website here.
Watch the trailer for The Girl in the Snow here:
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