Descent

The second and best known film by Neil Marshall is the story of six friends who go on a speleological expedition in the Appalachian Mountains, somewhere in North Carolina. For traumatized Sarah (Shauna Macdonald), who lost her husband and daughter a year earlier, the expedition is meant to be an attempt to return to normalcy. Led by Juno (Natalie Mendoza), the women venture into a system of never-before-penetrated caves, where one wrong move means a loss of orientation, and that, in turn, a struggle for survival. In the cramped corridors, the buddies must confront not only the dangers of the underworld — of course — but also with growing mistrust, old resentments and secrets that undermine the bond between them. The further into the unknown, the less chance of rescue. Marshall transforms the cave into a space reminiscent of hell or at least purge, and therefore a place suspended outside the ordinary order of the world, one in which the heroines are forced to confront the past and its associated fears and guilt. The eponymous descent thus signifies both a physical journey into the depths of the earth and a journey into the darkest corners of the psyche, where morality does not seem to exist. And with all this corresponds the visual layer, based on claustrophobic compositions and economical lighting. The closer to the core of the planet, the greater the monstrosity: both the alien abyss, and the people themselves. In such conditions, is there any hope of redemption or even rebirth?

Attention! The screening will take place in the swimming pool: the participants of the show are obliged to appear on the spot in adequate attire and with a towel.

It will be possible to watch the film both “dry” - from the edge of the pool, and from mattresses and seats in the water.

EN Released in 2005, THE DESCENT was Neil Marshall's second feature and remains his best-known film. He follows six friends on a caving expedition in the Appalachians, somewhere in North Carolina. For Sarah (Shauna Macdonald), still struggling with the trauma of losing her husband and daughter a year earlier, the trip is meant to be a step back towards normality. Led by Juno (Natalie Mendoza), the women venture into a previously unexplored cave system, where one wrong move can mean losing their bearings — and losing their bearings can mean a fight for survival. Deep underground, they must confront not only the dangers of the caves themselves, of which there are plenty, but also growing mistrust, old resentments and secrets that begin to strain the bonds between them. The farther they descend into the unknown, the slimmer their chances of escape. Marshall turns the cave into something resembling hell, or at least purgatory: a space outside the ordinary order of things, where the women are forced to confront their pasts, along with the fears and guilt bound up in them. The 'descent' referred to in the title thus signifies both a physical journey deep into the earth and a journey into the darkest recesses of the psyche, where morality seems to be non-existent. The visual style reinforces this sense of entrapment, with claustrophobic compositions and sparse lighting closing in around the characters. The deeper they go, the more monstrous both the unfamiliar abyss and the people themselves become. In a place like this, is there still room for redemption — or even rebirth?

Please note! A screening will take place at a swimming pool. All attendees are required to arrive in appropriate swimwear and bring a towel.

The film can be watched both “on dry land” from the pool side and from inflatable mattresses and seats in the water.