They are her children, or rather, they represent the product of her anger. The Brood was written and directed by David Cronenberg and features Oliver Reed, Samantha Eggar, and Art Hindle. The score is composed by Howard Shore with cinematography by Mark Irwin. Frank Carveth (Hindle) sets out to discover what’s behind his institutionalized wife's unusual treatment methods. Is there a connection between the therapies at the Somafree Institute and the recent violent killings? In 1979, David Cronenberg was establishing himself as a filmmaker known for body horror and psychological complexity. The Brood feels somewhat extreme in its concept, but it’s intellectually stimulating, and, predictably from this accomplished director, also disturbing. It doesn't offer easy explanations; the narrative omissions are intentional, and the film demands full engagement or offers little reward. The story unfolds at a deliberate pace, allowing time to understand the main characters—particularly Nola Carveth (Eggar). Working within budgetary constraints, Cronenberg focuses on creating an unsettling atmosphere and building tension, punctuated by brief moments of intense shock as bizarre mutant children – possibly – suddenly appear to inflict violence. A pervasive sense of coldness and detachment permeates everything, which strangely complements the environment where events are taking place. It’s worth mentioning that Cronenberg faced accusations of crossing a line, not for the first time or last. Having recently gone through a difficult divorce, he then created The Brood, which some might interpret as having an anti-woman perspective. Going into more detail would risk revealing plot points, so it's best to form your own conclusions about that aspect; regardless, it’s a clinically unsettling work from a director who consistently challenges audiences. 7/10

Source on TMDB