SXSW 2021
Greetings again from the darkness. Not just another rape-revenge thriller, this film from co-writers and co-directors Dusty Manicinelli and Madeleine Sims-Fewer is one of the most brutal and unforgiving films I've seen in a while. Emotional pain, regret, bitterness, and compromise worm through every scene and every character.
It begins as a cabin in the woods story. Miriam (co-director Sims-Fewer) and Caleb (Obi Abili) have a strained relationship that appears headed towards a breaking point. They are meeting up with Miriam's sister Greta (Anna Maguire) and her husband Dylan (Jesse LaVercombe) at his family cabin. There is an underlying tension that prevents the four from every being at ease with each other, though we only get bits and pieces at a time. To further force our concentration, the story is told in non-linear fashion, making it important to focus on hairstyles and details.
One evening by the campfire turns into a turning point in the film and acts as the before and after point. A primal and brutally violent sequence takes up close to half of the film, and it's unlike anything I've previously seen on screen. The practical effects are next level, and Ms. Sims-Fewer is absolutely terrific throughout. A chilling use of music accompanies an odd combination of wolf-rabbit-psychopath, and the filmmakers use shots of nature as connective tissue in a world where sometimes we are the wolf and sometimes the rabbit. Certainly not a film for mass audiences, but it will surely find an appreciative following.
It begins as a cabin in the woods story. Miriam (co-director Sims-Fewer) and Caleb (Obi Abili) have a strained relationship that appears headed towards a breaking point. They are meeting up with Miriam's sister Greta (Anna Maguire) and her husband Dylan (Jesse LaVercombe) at his family cabin. There is an underlying tension that prevents the four from every being at ease with each other, though we only get bits and pieces at a time. To further force our concentration, the story is told in non-linear fashion, making it important to focus on hairstyles and details.
One evening by the campfire turns into a turning point in the film and acts as the before and after point. A primal and brutally violent sequence takes up close to half of the film, and it's unlike anything I've previously seen on screen. The practical effects are next level, and Ms. Sims-Fewer is absolutely terrific throughout. A chilling use of music accompanies an odd combination of wolf-rabbit-psychopath, and the filmmakers use shots of nature as connective tissue in a world where sometimes we are the wolf and sometimes the rabbit. Certainly not a film for mass audiences, but it will surely find an appreciative following.