Pushing people in certain directions that suits their needs and profit eventually.

There’s definitely a mirroring of life and raising of a child (in this film), but at the same time what I find most interesting about all of it is that he isn’t theirs and therein lies the conundrum. It’s like even the words mort-gage, it’s like death gauge. They’re nice, they’re normal. I don’t think the film hammers too hard a point that we shouldn’t live a capitalist life or anything. We were trying to find a suitable monster for that kind of story and covering those kinds of themes. There were always bits within the script that kept progressing forward and becoming darker. There’s a degree of these false real estate agents that have a symbiotic relationship with humans and they don’t raise their own young and have to trick young couples to become surrogates for them. They don’t know their neighbors. So when we were editing I decided to put it back in but just kind of simplified, using it as a few shots through the titles. Thus, the insidious nature of Yonder, the interchangeable Martin realtors that sell the homes, and the facsimiles that stand-in for human creature comforts. Did you have visual references to create this world? Before they enter into Yonder and are trapped there, and then it just becomes much more of a horror film, really.


They get deliveries from Amazon. His primary objective is to manipulate them into taking care of him and for him to be able to learn how to act like a human well enough to convince somebody to come into (Yonder) afterward. There were some ideas and themes that we wanted to explore in a much more universal way with Vivarium. While many people across the world have been forced to confine themselves to their homes, a new film that takes that theme to extremes sees release today. Aesthetically, probably Roy Andersson’s films, like Songs from the Second Floor. But hopefully there’s still that kind of core relationship between the couple, that the audience kind of relate to. Were there specific reasons for these colors and were they larger parts of your writing process, as a commentary on cold utilitarian function or unhealthy gender-based politics? What inspired you to create this insidious hostile takeover story?
Yeah, they kind of represent a consumer, capital society in a way. The film heightens those fears and cranks them up to eleven by meshing together the science-tech horror of Black Mirror (2011) and the unfathomable regions of the Twilight Zone (1959). Lorcan Finnegan: Well, in 2011 I made a short film with the same writer, Garret Shanley, called Foxes. He was going around imitating people, freaking out his mother. I think it's just sort of a perfect vehicle for that, particularly science fiction. Planned communities designed with intricately symmetrical cookie-cutter aesthetics have always been unnerving to me for a plethora of reasons. SG: The Cuckoo bird allegory is one of the best and most unexpected foreshadowing moments I’ve seen in horror film(s) recently. So cuckoos are brood parasites: they don’t raise their own young, they find a surrogate in another bird. Economic wealth gaps are widening and many people in their 20s, 30s, even 40s cannot afford the bygone dreams of housing past. He works outside and has a connection to the earth which he then uses to start digging a hole in the film. So, its basically a reflection of nature and that’s why we open on the scene with the Cuckoo chick ejecting the other chicks from the nest. I also wanted to keep them in the same wardrobe throughout the film as if they hadn’t planned on getting stuck in the film. In the script we had written, like in an earlier draft, we had written a scene where this happens up in the tree, but we ended up cutting it from the script to save on budget and shooting time, it wasn’t something that felt completely necessary. They’ve lost their sense of community.

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