CONTENT WARNING: DEATH, BODY HORROR
Spotlight on Horror is a new segment where I take a look at moments in media that have truly stuck with me because of their over-the-top, disgusting or terrifying nature.
No One Gets Out Alive is a 2021 Netflix original film based on the book of the same name by Adam Nevill. Horror fans may be familiar with Nevill’s other adapted-into-a-film book, The Ritual, where several men get lost in the woods in Sweden and encounter an Old God. Keith Thompson was the creature designer for both films and his approach to their appearance and function is multilayered; each monster contains elements that describe their function as Gods and their goals. Many of the crew worked on both films, leading to them being referred to as “spiritual cousins“.
NOGOA follows Ambar, an undocumented immigrant after she moves to Cleveland following her mother’s death. She soon takes up residence in a sketchy boarding house run by a man named Red. She begins to have nightmares of women crying, and see ghosts wandering the halls, lights flickering and furniture smashing–typical poltergeist behavior. In fact for most of the movie we’re led to believe this is just a ghost story. Regardless, Ambar becomes disturbed but has nowhere else to go.
Later it’s revealed Red and his brother Becker take in vulnerable women to sacrifice to the Aztec Goddess, Itzpapalotl. Their father brought home a mysterious box from Mexico during an archeology trip, which acts as both a vessel and gateway to bring the Goddess into our world. It’s unknown what got them started on this path, but Becker appears to be “chosen” by the Goddess, and must continue the sacrifices. He is shown to have enhanced physical strength and healing abilities.
Ambar is set to be the next sacrifice and we’re treated with a spectacular entrance from Itzpapalotl. A massive arm emerges from the box, then another. As the creature pushes itself free, we can see it resembles a woman draped in a veil made of skin, with the train gradually becoming more wing-shaped as it drags along the floor. The veil is shaped like a crown, or a head of hair, like a person laying down. She walks on those giant hands, with a second set clasped together towards the floor, almost as if in prayer. These secondary arms are also under the skin-veil. Climbing atop two blocks and set into a wide stance, she lowers her hands and gently caresses Ambar’s face. We’re also shown a close-up of the Goddess, with the layer of skin taught over empty eye sockets and the mouth wide. To me this looks like a death shroud.
Underneath the hands, set in the groin, is a giant mouth. Itzpapalotl beheads its victims, who are subjected to nightmares as she holds them in place. Ambar resists this fate, and in her personal nightmare, she is faced with her mother dying in the hospital. Realizing it’s a dream, she smothers her mother to death. This appears to be the correct choice, and the Goddess backs off. (The filmmakers have stated that Ambar is to become the new priestess for Itzpapalotl, so perhaps this nightmare serves as a test, and those who fail become food.)
Many things can be taken from this scene and the depiction of the Goddess, who’s name translates to “obsidian butterfly”, or “clawed butterfly”. The area around the altar is covered in silk moths, an insect associated with her. As well, in Aztec mythology she’s directly connected to infant mortality and women who have died in childbirth. The central mouth sits where the vagina would be, and the way she holds the victims head is similar to a baby during birth. It’s possible the decapitation could be symbolic of a traumatic birth, such as the umbilical cord getting tangled. It’s also a literal vagina dentata. Ambar kills Becker with a Macuahuitl, a wooden club with obsidian blades, showing his healing powers have been nullified. Later, when Red is decapitated, Ambar’s broken ankle heals, showing the power has been transferred to her.
Overall she’s both terrifying and beautiful, as befits her status as a Goddess. Itzpapalotl is one of the most creative and well thoughtout designs I’ve seen in ages, and I’m hopeful for another Nevill/Thompson collab in the future.
LORMAGGOT 