After having heard about it for years,going online led to me finally "attending" FrightFest. Having viewed one film a day over the past three days of the event,I felt it was fitting to end the FrightFest season by watching the final title being streamed at the event.
View on the film:
Front and centre of every scene, Azura Skye gives a powerfully brittle turn as Holly, holding close-ups with subtle changes in her facial expression as Holly discovers a new lower depth. Sinking deeper into Holly as the character becomes more withdrawn, Skye alters her body language as Holly turns from looking at the outside world with dead eyes, to a short fuse about to explode at any moment.
The first of his credits since the 2004 short Sara Goes to Lunch (2004), co-editor/ (with Alec Styborski) writer/director Dean Kapsalis & cinematographer Daryl Pittman draw a clinical atmosphere to the character study, draining Holly and the film of colour, for a dry, muted chalk palette, which becomes increasingly dour in the long take, stilted close-ups of Holly.
Slicing into each stage of Holly's downward spiral, the screenplay by Kapsalis is weighed on by the detached method of Kapsalis's directing, leading to the attempt at a gradual descent into Holly's breakdown, being hurt by little room being given for the audience to witness her life in the very early stages of the downward trend, causing the ending to feel like a sudden burst, rather then the attempted slow drop into the black void.
View on the film:
Front and centre of every scene, Azura Skye gives a powerfully brittle turn as Holly, holding close-ups with subtle changes in her facial expression as Holly discovers a new lower depth. Sinking deeper into Holly as the character becomes more withdrawn, Skye alters her body language as Holly turns from looking at the outside world with dead eyes, to a short fuse about to explode at any moment.
The first of his credits since the 2004 short Sara Goes to Lunch (2004), co-editor/ (with Alec Styborski) writer/director Dean Kapsalis & cinematographer Daryl Pittman draw a clinical atmosphere to the character study, draining Holly and the film of colour, for a dry, muted chalk palette, which becomes increasingly dour in the long take, stilted close-ups of Holly.
Slicing into each stage of Holly's downward spiral, the screenplay by Kapsalis is weighed on by the detached method of Kapsalis's directing, leading to the attempt at a gradual descent into Holly's breakdown, being hurt by little room being given for the audience to witness her life in the very early stages of the downward trend, causing the ending to feel like a sudden burst, rather then the attempted slow drop into the black void.