“The Lodge,” directed by Veronika Franz and Severin Fiala, follows in the unsettling footsteps of their previous work, “Goodnight Mommy,” exploring the tense dynamics between children and parents, particularly a potential stepparent. Echoes of Stanley Kubrick’s “The Shining” permeate the film, as the narrative unfolds in a snowed-in setting, creating an atmospheric mind-bending experience. Premiering at Sundance 2019, the movie divided audiences, drawing both raves and pans. From the outset, Franz and Fiala immerse “The Lodge” in an aura of impending dread, cleverly using Chekhov’s gun imagery, only to reveal them as miniatures in a dollhouse belonging to siblings Aidan and Mia, whose parents are navigating a bitter divorce. Richard, their father, introduces them to Grace, his new partner and the sole survivor of a doomsday cult. As the family embarks on a Christmas trip to a remote Northwest cabin, events take a dark turn when Richard leaves the kids alone with Grace, setting the stage for an unsettling series of events that challenge the thin veneer of familial unity.
