Coming two years after the critical and box-office failure of The Bonfire of the Vanities ^[1] (1990), Brian De Palma’s Raising Cain (1992) was a brief sojourn to the genre that had brought him fame and notoriety: the thriller. But Raising Cain is also one of De Palma’s most challenging, elliptical and darkly comic films. Because of its refusal to ‘make it easy’ for the audience, it is also the least understood and appreciated film from his ‘red phase’. The key to unlocking the mystery, the intricately multi-layered psychological trap doors of Raising Cain, lies in Luis Buñuel’s Belle De Jour (1967).

– Dmetri Kakmi, Senses of Cinema ^[2]

Vi henviser også til Press Plays omredigerte versjon ^[3] av Raising Cain (dog uten å ha sett den selv) – les mer om prosjektet her ^[4].