12th House is an abstract short from Ilona and Israel Laboy, a psychedelic menagerie of strange imagery which seems to hold a deep, personal significance for the filmmakers yet can just as easily be enjoyed as a simple barrage of the bizarre. The first few shots act as a rapidly ascending gradient into maximalism, beginning with an almost entirely grayscale shot of the main character walking in a daze on the beach, with barely perceptible accents of color in her makeup. More color is added with the introduction of a graffiti-laden phonebooth, standing as a monument of vibrance against the background of a dull gray ocean, before the film finally reaches a crescendo and embraces the visual aesthetic of psychedelic overstimulation which will characterize the majority of the short, with the setting transitioning from the black-and-white beach to what appears to be either a bar or restaurant drenched in multi-colored neon lighting.
The beautiful and deranged sequences which follow this aesthetic establishment explore the concepts of pregnancy, birth, death and rebirth through a surreal lens, utilizing fetishistic imagery and disorienting techniques to both draw in and repel audiences and leaving them to ponder the initially incomprehensible onslaught of imagery which makes up this film.
Covering the full spectrum of sensuality from the repulsive to the arousing through its dense visual landscape, 12th House often features off-putting imagery which could easily belong to either of these categories depending on the perspective of the viewer. What will likely be much more universal among different audiences is the reception of the film as an abstract and surreal piece, with its shots and sequences linked by emotional and thematic resonance rather than narrative continuity. An abundance of distortions, both visual and aural, enhance the sense of disorienting psychedelia. In addition to the creative use of lens flare, video delays and mirroring effects to both enhance and obscure the content of its imagery, much of the movie’s spoken dialogue is intentionally jumbled to the point of incomprehensibility, and the few words which are intelligible primarily exist as contextless fragments which do little to aid in interpretation, lending primacy to the onscreen images.
Both the set design and wardrobe feature fascinating and bizarre design choices which are amplified by the aforementioned editing choices. The brilliant colors and overbearing neon lighting which dominates the backdrops of many scenes in the film is complemented by the equally extravagant costume design, featuring dazzling glitter, ominous masks (notably a few different bunny masks which recall the rabbit imagery utilized by David Lynch) and an abundance of form-fitting latex which directly draws from traditional bondage gear. The theme of fetishism is most plainly visible in these explicitly kinky costumes worn by many of the characters, but it also manifests itself through these characters’ performances and interactions with the props around them.
One performer is even able to force pious emotion through a dead-eyed mask with the thoroughness of the fetishistic reverence they display as they lift and admire a silver egg, the futuristic totem of their choosing. It is not only this actress who delivers a strong performance, as the entire cast shows a profound ability to communicate meaning and emotion despite the film’s minimal use of direct dialogue. The performance of the lead actress is particularly intense, with her ability to conjure blood-curdling screams and cries cementing her as a disturbing standout. She also features in a scene involving an oddly intimate medical procedure which reinforces the uncomfortable yet alluring sexual themes of the film.
While its hazy, dreamlike structure and uncomfortable abstract imagery is certain to alienate a sizable portion of viewers, those who are preconditioned to enjoy the surreal side of cinema will likely latch on to 12th House thanks to its unique, ambitious vision. Its central preoccupations of birth, death and sensuality are certainly not peculiar, but the twisted, gleefully perverse lens through which it depicts them is singular and extraordinary.
12th House screens at the New Jersey Film Festival on Saturday, January 31, 2026 – Online for 24 Hours on this date and In-Person at 7 PM in Voorhees Hall #105/Rutgers University, 71 Hamilton Street, New Brunswick, NJ 08901! 12th House Director Ilona Laboy will be doing a Q+A with the audience at the in-person screening. Get more info and buy tickets here.
The 44th Bi-Annual New Jersey Film Festival will be taking place on select Fridays, Saturdays, and Sundays between January 23-February 22, 2026. The Festival will be a hybrid one as we will be presenting it online as well as doing in-person screenings at Rutgers University. Most of the films will be available virtually via Video on Demand for 24 hours on their show date. VOD start times are at 12 Midnight Eastern USA. Each General Admission Ticket or Festival Pass purchased is good for both the virtual and the in-person when both are offered. The in-person screenings will be held in Voorhees Hall #105/Rutgers University, 71 Hamilton Street, New Brunswick, NJ beginning at 5PM or 7PM on their show date. General Admission Ticket=$15 Per Program; Festival All Access Pass=$120; In-Person Only Student Ticket=$10 Per Program. For more info on the Film festival go here: FESTIVAL WEBSITE
