The year is 1914, and as the world teeters on the brink of World War I, a nameless man, portrayed by British actor David Oakes, embarks on a solitary journey to the ends of the earth. Seeking an escape from civilization, he agrees to spend an entire year as a meteorologist on an uninhabited island in a remote corner of the South Atlantic. However, those familiar with director Xavier Gens' previous works will not be surprised to learn that the island is not as deserted as advertised.
This sets the stage for a gruesome yet unusually philosophical creature feature that interweaves Nietzschean and Darwinian themes with jump scares, hinting at a Lovecraftian ambition it never fully embraces. The first living creature our protagonist, referred to as "Friend," encounters is human. According to Nietzsche's caution, "he who fights monsters is liable to become one himself." This figure is Gruner, a bearded, shipwrecked man played by Ray Stevenson, who grumbles and speaks of himself in the first person. Gruner is not inclined to make new friends, though he dubs the protagonist "Friend." Consequently, Friend retreats to his own shack for the night, only to be attacked by an army of bloodthirsty mer-people. These creatures are described as resembling the love interest from "The Shape of Water," but darker, less expressive, and more physically imposing. A peculiar observation is made about the lack of corpulence among humanoid movie monsters, a trait noted to be absent in the hundreds of creatures in "Cold Skin."
Friend soon deduces the fate of the previous meteorologist stationed on the island and seeks to join forces with Gruner, hoping they can escape together. However, Friend discovers that Gruner has no intention of leaving; instead, he is determined to kill all the creatures. Amidst this, a female creature named Aneris, portrayed by Aura Garrido in what appears to be a gray latex bodysuit, emerges. While Gruner treats her as an animal, Friend begins to see her as something more. Aneris's "humanity," so to speak, serves to reflect and expose the beastliness of men, prompting Friend to question the possibility of peace between the two species.
The premise carries potential for colonialist undertones, and interpretations through the lens of "the noble savage" are evident. However, "Cold Skin" appears more interested in defusing these themes and pushing back against the fear that filmmakers like Gens often exploit. Challenges in understanding how the sea creatures have not already eliminated Gruner, and a screenplay that feels obligated to follow genre conventions, detract from the narrative. The prompt appearance of the monsters, with the first attack occurring around the 15-minute mark, suggests an attempt to outpace audience expectations and allow for deeper story development.
While Friend's transformation from self-preservation to pacifism is clear, he remains largely an embodiment of the idea blossoming within him. Gruner's character is less fortunate, though Stevenson delivers a commendable performance, even providing the film's scarce moments of humor, such as when Gruner refers to Friend as "lady bird." Ultimately, "Cold Skin" relies on the sincerity of its convictions and the evocative sense of place captured by its Icelandic filming locations.
Background and Influences
"Cold Skin" screened at the 2018 Fantasia Festival. The film presents a remote island, a solitary weather observer, and a devastating secret. Xavier Gens' "Cold Skin" has captivated horror audiences globally, appealing to fans of the novel it is based on and admirers of H.P. Lovecraft, whose work served as a significant influence.
David Oakes plays the unnamed protagonist who agrees to be marooned, surviving only with the assistance of the surly lighthouse keeper, Gruner (Ray Stevenson). His encounters with monstrous beings emerging from the sea at night lead him to unexpected revelations.
Actor and Director Insights
David Oakes, who had not read the book in its original Catalan but was familiar with Lovecraft's work, was drawn to Gens' interpretation. He notes that the film expands upon the novel, incorporating a more pronounced feminist agenda. Oakes, along with Ray Stevenson and Xavier Gens, spent considerable time in Madrid preparing for the film, identifying elements from the novel's first-person narration suitable for adaptation. Oakes' personal input is evident in the inclusion of Keats' poetry and various philosophical concepts woven throughout the narrative.
The retrospective nature of the narration allowed Oakes to understand his character's ultimate destination while portraying his initial lack of understanding of the island's mysteries. While the British translation of the book doesn't specify, the original Catalan version identifies Friend as an Irishman fleeing his homeland, largely as a conscientious objector. Oakes did not feel it necessary to define Friend's specific reasons for fleeing, but acknowledged the impending war in Europe as a backdrop and a potential parallel to Gruner's own experiences, though these were never explicitly referenced in the film.
Oakes aimed for the audience to embark on a journey with his character, discovering information as he does. He emphasizes that his character's initial reactions to the island's situations were a key aspect of his performance. Oakes particularly appreciated the film's minimal dialogue and the dynamic between the two contrasting characters, forcing the audience to engage their imagination. He views Friend and Gruner as different facets of the same coin. The production involved physically demanding outdoor work, including traversing volcanic lava fields in Lanzarote, with filming occurring predominantly at night, which Oakes believes contributed to the film's character.
The challenging environment became a character in itself, amplified by Daniel's cinematography, which captured the vast expanses of the land. The water scenes also presented unique conditions. During daytime filming in Lanzarote, temperatures reached approximately 40 degrees Celsius, making the water a welcome respite. Conversely, filming Arctic sequences involved wearing layers of fur and wool.
Originally, there were considerations for shooting in Iceland, but the practicalities of prosthetics and costumes for stuntmen in extreme cold made it unfeasible. Oakes, whose career has predominantly involved period work, finds his mindset naturally suited to such roles, though he expresses a desire to explore contemporary projects in the future.
Lovecraftian Connections
As a Lovecraft enthusiast, Oakes identified "Innsmouth" as a key influence. He also referenced Alan Moore's graphic novel "The Necronomicon," a response to Lovecraft's work. Oakes suggests that while Lovecraft's stories are traumatizing and odd, they are desexualized. Both the novel and the film reintroduce the sexual element, focusing on primal human nature, a theme explored to an extreme in Moore's "Necronomicon." Oakes posits that these themes represent what Lovecraft may have wished to discuss but was too prudish to address directly.
Oakes believes his character evolves and adapts to his surroundings over the course of his year on the island, contrasting with many of Lovecraft's protagonists who remain unchanged. He enjoyed the immersive experience of filming on the island, describing the solitary moments looking out at the mysterious seascape as magical.
Plot Summary and Thematic Exploration
In 1914, a young Irishman arrives on a remote South Atlantic island to serve as a weather observer. He finds only Gruner, the keeper of a crudely fortified lighthouse. Gruner claims the previous observer died of typhus, with no body to be found. While exploring, the unnamed man discovers his predecessor's diary, filled with drawings of strange sea creatures. That night, his cabin is besieged by these creatures. The following night, he attempts to repel them with fire, inadvertently burning down his cabin. The next day, he encounters a female amphibious creature, whom Gruner prevents him from harming, asserting she is "tame."
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Friend eventually bribes Gruner into allowing him to stay in the lighthouse. During the night, creatures ascend the lighthouse, and Gruner fights them off as Friend faints. The subsequent night, while defending the lighthouse, Gruner locks Friend outside on the balcony, seemingly abandoning him to face the creatures alone. The two men establish a routine. Friend develops an affection for the captive female creature, whom Gruner treats as a sex slave, and names her Aneris. Friend speculates that the nightly attacks are attempts to reclaim Aneris, who vocalizes during these assaults.
During one perilous night, the lighthouse is overrun. The following day, Friend attempts to signal a passing ship. Gruner attacks Friend, and they wrestle for control of a flare gun. Aneris intervenes to protect Friend. Friend communicates his desire to leave the island to Aneris, who leads him to an abandoned rowing boat. Friend and Gruner devise a plan to retrieve dynamite from a sunken ship offshore. They row to the wreck, and Friend, donning an old diving suit, retrieves several boxes of dynamite. Gruner, however, ceases pumping air to Friend, seemingly attempting to kill him. Friend escapes the suit and returns to the rowboat, aware of Gruner's betrayal.
Friend and Gruner then plan to lure a large number of sea creatures to the lighthouse before detonating the dynamite, hoping to eliminate many and drive the rest away. The plan largely succeeds, resulting in numerous creature casualties. The next morning, Gruner dispatches the remaining creatures. Friend retrieves a necklace from a deceased creature, attempting to convince Gruner of the creatures' civilization. That evening, Gruner reveals he found Aneris trapped in his net and freed her. The following night, the creatures do not attack, but a mournful wail emanates from the sea; Aneris is missing, having apparently run off for the first time.
While Gruner sleeps, Friend discovers a photograph of a young Gruner with a wife. Friend leaves a gift for the creatures, and a child creature investigates it. A more confident Aneris reappears. Friend attempts to convey to Gruner that the creatures desire a truce. Gruner commands Aneris to return, but she refuses. Gruner retreats to the lighthouse and fires a flare, killing the child creature. Friend confronts Gruner inside the lighthouse, and they fight. Friend reveals his knowledge of Gruner being the previous weather observer and urges him to remember love. Gruner drops his axe, exits the lighthouse, and is killed by the awaiting mob of sea creatures. Many months later, a ship arrives to replace Friend. The captain informs him they are there to replace the weather observer, to which Friend echoes the lie he was initially told: the weather observer died of typhus.
Critical Reception and Box Office
"Cold Skin" grossed a worldwide total of $737,478. On Rotten Tomatoes, the film holds an approval rating of 48% based on 27 reviews, with an average rating of 6.10/10.