Can horror teach us things? As it turns out, yes – plenty: You’re Not Me (2023) tells us, in no uncertain terms, never to turn up anywhere uninvited, even (or especially) if it’s to see your own family.
It’s Christmas Eve: the film starts at a Spanish airport, where Aitana (Roser Tapias), her partner Gabi (Yapoena Silva) and their newly-adopted son João have just arrived from Brazil to surprise Aitana’s family. Aitana is sure it’ll be a pleasant surprise; this gives them both the strange ability to ignore worrying portents like missing luggage (and escapee pig fatalities – yes, you heard that right). She rings from outside the house and has a pleasant chat with her mother, before ringing the doorbell. This is it. Surprise!
Indeed. A friend of the family comes to the door, and when the young family finally gains admission – it’s a little awkward, having to explain to a stranger that you’re the daughter of the family – there’s a strangely cold reception from everybody except Aitana’s brother Saúl (Jorge Motos). It’s quite perplexing. In fact, her father openly remonstrates with her for not checking ahead. Aitana is obviously a little nonplussed by this, but tries to mask her disappointment, still hoping for the loving reunion she’d both imagined and told Gabi all about: this is the first time Aitana’s family have either met her partner, or the baby. However, things get odder when it transpires that someone’s sleeping in Aitana’s old bed.
This young woman, Nadia (Anna Kurikka) is wearing her old nightclothes, too. Who is she? Reluctantly, Aitana’s parents explain that she is a refugee – no further details – who has recently been living at the house whilst helping to take care of Saúl. They’re strangely defensive of her, and Nadia is strangely truculent for a grateful outsider: in short, Nadia gets to keep Aitana’s bedroom, whilst Aitana, Gabi and João are dispatched to the ‘turret’, like madwomen in the attic. Gabi is a good deal more grounded than her partner, assuring her that everything is probably fine and that she’s no doubt tired, emotional and stressed, leading her to overreact. However, when Aitana sneaks down the stairs, she sees the family, her replacement and all, exchanging Christmas gifts without them. It’s bound to sting a bit, and kickstarts a desire to solve what now feels like a mystery. Why has this relatively conservative Spanish family suddenly opened its doors to a stranger? Why aren’t they more interested in Nadia’s identity? And most importantly of all, why the sullen, avoidant reception for their own flesh and blood? Keen to rebalance her relationship with her family, Aitana decides her best bet is to uncover what she can about this Nadia. But there’s more, much more to contend with – especially as a number of Christmas guests start to arrive at the house ready for a special gathering which – you’ve guessed it – wasn’t meant to include Aitana at all.
This is a film which successfully moves you around emotionally. Perhaps Aitana is on the petulant side at first, but this is a weird situation for sure, and you’re soon right on her side. The camera stays primarily with her, and we’re privy to her fretful dreams, too: surely, directors/writers Marisa Crespo and Moisés Romera intend the audience to share Aitana’s perspective. Well, yeah: however, the screenplay then introduces some other backstory elements, casting doubt on Aitana’s mindset as it fills in some important blanks. It’s carefully done, and works well. Saúl is an important character, too, and his worsening health (we understand that now uses a wheelchair all of the time) is a realistic added strain, with a good performance from Motos. You’re Not Me is also great at capturing that strange feeling of being an outsider in your old family home: your clothes have been given away, your sentimental treasures are MIA and your loved ones are showing open preference to someone else. Much of Aitana’s family’s behaviour is openly hurtful; it just happens to be focused around a cuckoo in the nest. However, there is more to come, with a different kind of storytelling waiting to move to the fore.
You’re Not Me is somewhat reminiscent of Get Out (2017) in its first act. There’s a similar sense of the vibe being off, as well as a strange gathering, an eerie feeling of displacement – and a few slivers of thinly-veiled, or unveiled racism to boot. The film also carries with it an interesting subtext around poverty, homelessness and the kind of ‘help’ people give to those who are in need, as well as exploring Aitana’s homosexuality and her parents’ sometimes passive-aggressive, sometimes aggressive-aggressive responses to her coming out of the closet (though, ironically, the closet might be the safest place to be in this household).
When the film moves into its second phase, it may feel more predictable to hardened horror fans but – because it’s built on decent foundations – you are happy to follow it wherever it’s going next. Whilst its initial eeriness gives way to something more tried-and-tested, it has the pace and self-awareness to spin things into a – dare I say it? – fun horror film, with clear generic precedents. You get the sense that a big finale is on its way, and that when it arrives, it’s going to be quite something: the film deftly takes things in this direction, and doesn’t disappoint. You’re Not Me might cover a lot of ground, but it’s an energetic, strangely enjoyable tale which successfully shifts from one genre to elements of several others (which must remain nameless, so as not to give the game away). It could even join the hallowed ranks of Christmas horror film choices, so add it to the playlist: you can watch it at the end of the year, if your Christmas visit gets off to a bad start…
You’re Not Me (2023) features at this year’s Final Girls Berlin Film Festival – now in its tenth year!