A propulsive score cannot help Undergods’ dour look at a declining oppressive Europe.
Anthology films have made a comeback. Especially the Horror Anthology film. Undergods is a product of that come back. Writer/Director Chino Moya’s film is definitely middle of the pack.
Four loosely interconnected stories make up Undergods. Jealous, infidelity, theft, obsession all play a part in these films. Two deal with the jealousy and stagnation of marriages. One deals with the literal prison of factory work. One deals with the theft of ideas. Within these stories, the film finds some humor (mostly a bon mot at the end of the story) but mostly the effects that an oppressive grim look at human nature at its poorest. It is not that the film needs a sense of levity. But each of the segments feels like a slow turn of the key to get to an ending moment that feels purposeful but pointless. That is not to say that the film is without its charm. The score by Wojciech Golczewski drives the narrative forward with at times a creepy and propulsive score. One can see the promise in Moya’s world-building with the beautifully crafted visuals, one just wishes the stories were more engaging.