As we rely more and more on technology to make connections (especially as the ever present quarantine isolation marches on) it makes sense that tech based horror would become more prevalent in the genre in new and interesting ways. Just as Host did last year, Filtered is able to effectively communicate horror and anxiety in the simple yet brilliant format of video chat. With a runtime of less than six minutes, writer/ director Vincenzo Nappi doesn’t have a lot of time to establish characters or backstory, yet is able to make both Jasmine (Jasmine Winter) and Marco (Marco Carreiro) immediately feel genuine and real with the sparse information provided. This goes a long way to making their initially mundane conversation all the more familiar at the start and therefore more frightening by the climax. With simple yet effective imagery that recalls the classic David Lynch shortThe Alphabet at times, this is an amazing piece of bite-sized horror that feels very apropos to the moment.
Typically in short films it’s best to dive right into the action and Forced Entry does just that as it plunges you into the world of psychotic drifter duo Arthur Maddox (Tom Lodewyck) and Donovan Hatche (James Bett Jr). The film follows the pair on a brutal killing spree over the course of a couple of days and was inspired by real life murderers Lawrence Bittaker and Roy Norris who raped and killed five young women in 1979. Even though brief footage of the real killers is shown at the end, the connection they have to the film probably wouldn’t have been clear to anyone who didn’t have the luxury of reading the highly detailed press kit. Even so, the shots do still serve to illustrate the point that our real world is filled with brutal, sadistic violence that usually occurs without much motive or rational explanation.
The story here is definitely pretty bare bones as most of the twenty-four minute runtime is taken up with extended scenes of mean-spirited violence. That’s not at all a bad thing in this case though, because even without a more robust narrative, the film still manages to be highly compelling with some truly impressive practical gore effects and excellent performances from the victims. It also makes sense given the fact that K.M. Jamison (who co-wrote/co-directed with James Bett Jr) said in a statement that the film is intended to function as a kind of showcase for what will hopefully be turned into a feature someday. In that regard it’s highly successful and I’m very on-board to see this nasty little story get fully fleshed-out in all its blood-soaked glory.
It’s interesting that the review for Nightmare Symphony would come directly after my review of Undergods since both films play with ambiguity and surreal imagery but achieve nearly opposite results. In this case, the Giallo-inspired film takes a big swing at meta commentary and the nature of reality with its story of an American director Frank (Frank LaLoggia) who goes to Italy to finish the edit of his film. Before long people all around him seem to be dying at the hands of a mysterious killer in a bird mask, who leaves no trace behind other than a peacock feather as their calling card.
Clearly this film is a love letter to Giallo itself, which is apparent long before the dedication to Lucio Fulci during the closing credits. On this front it succeeds wonderfully and the color-saturated scenes where the bird masked killer slashes up their victims with a straight razor to a pulsating synth score are a thing of beauty. In fact, I want to especially shout out all the FX work on this film because it is far and away the best part of the entire experience and every gory scene that features it is a work of brutal, bloody art.
What’s less successful is the story itself, as well as LaLoggia’s lackluster performance which never quite rings true, especially when paired with some of the actors in minor roles that are really bringing their A-game. It’s frustrating because I can see what writer Antonio Tentori (Cat in the Brain, Demonia) is trying to do but it simply does not come together. The ending (which I won’t reveal here) attempts to be very clever with a big meta reveal but falls utterly flat due to the fact that the preceding story in no way supports it.
Ambiguity in films can be a great thing, but a story that actively contradicts itself and feels like there are key scenes missing isn’t the same as not understanding a surreal film that’s filled with metaphor and symbolism. If you are going to play with the concept of reality itself in a film then you need to clearly establish what the reality of the world is and really understand when and how you are breaking with those conventions.
In this case Nightmare Symphony feels as confused as the viewer but attempts to cover its plot holes with stylized theatrics that it hopes will somehow congeal into meaning. Still, the film has a lot of style and a few carefully crafted re-shoots might be all it takes to fill in the missing pieces and tie the ending to the film that preceded it.
Going forward all reviews for short films can be found under the new Short Film Reviews section on the site. All previous reviews of shorts will now be found there as well as new short film reviews.
Is it necessary to fully understand a film to enjoy and appreciate it? I would argue that it is not, for if that were the case surrealist masters like Jodorowsky and Lynch would never have ascended to their exalted levels within the film world. We still watch, discuss and are sometimes confounded by films like Holy Mountain and Eraserhead more than four decades later because there is far more beneath the strange visuals that bares fruit if we are patient enough to peel back the layers. Surreal films benefit from re-watching and further examination, the trick is to make your films good enough that its worth an audience’s time to do so.
Writer/director Chino Moya’s first feature is certainly a film that requires additional scrutiny to fully comprehend. While it’s not as overtly surreal as the previously mentioned films the slippery narrative thread and dream-like quality give it a viewing experience akin to Holy Motors with a healthy dose of High Rise mixed in. There aren’t exactly main characters nor is there a clear narrative through-line as segments seem to flow into each other, sometimes in the guise of stories told between characters, and occasionally intersect.
The structure in fact is more on par with a collection of short films taking place in a shared universe where the edges are muddied enough for them to meld into each other rather than all serving a common storyline. We see body collectors nonchalantly tossing corpses into their truck like they are common trash, a middle aged couple who’s frosty relationship threatens to become upended by an unexpected guest, a father telling his daughter a bedtime story of an unscrupulous merchant, a post-apocalyptic prison and an ordinary business man whose life becomes incalculably more complicated with the arrival of someone from the past.
Some of these segments flow very cleanly into each other, whereas at other times the connection is a bit more abstract. Regardless of their storyline similarities it’s really the emotional thread of dysfunctional relationships in a bleak and hopeless world that connects and links the stories. More importantly, the purpose of this film is not to provide a by-the-numbers plotline but to create an evocative experience where well-realized characters flow into each other’s worlds with a dream-like quality and in that regard it is better served by the unconventional structure. The result makes for an incredibly engaging experience whose shifting narrative works well to simulate the feeling of watching an unnerving dream (or more aptly a nightmare) unfold and giving the audience plenty to mull over between viewings.
Fortunately the beautifully bleak cinematography that deftly captures the quiet horror of a ruined city and the across the boards flawless acting make this a trip that’s worth taking multiple times. If you are looking for a straightforward, easily digestible story that neatly resolves then this is not going to be for you. On the other hand, those interested in taking on a cinematic experience that provides depth and layers of meaning to be gradually unraveled would do well to give this a try.