Keyhole is a domestic Odyssey across carpets and floor tiles instead of across the sea. Here, in the old family home, the film can poetically study the emotionally complex importance of the house, everyone’s house, and all the memories that haunt every nook and cranny of our childhood domiciles. The film is as much an autobiography of a house as anything else.
Ultimately, by embedding the entire drama in the house to which all my fictional family’s memories are welded, I hope to divine the nature of the love we all have for our homes, and the love produced by our homes. These studies of the poetics of domestic space are contemplative themes, but the galloping narrative drive of the Odyssey enables me to employ a propulsive story. The gangsters in a haunted house genre, an admittedly rare, but not un useful film niche – the Bowery Boys’ “Spooks-Run-Wild” comes to mind as an unlikely B-movie inspiration, one used by poet John Ashberry in his most recent collection of work -- has emerged as a most latently powerful device for transforming this meditative story into a most compellingly, hauntingly and universally true tale of domestic love and familial memory.)- Guy Maddin