With so many great watches this year at Austin FF 2019, I’m back with my second report. Here I discover some original, beautiful (and one a bit sinister) new films!
The Wretched (Brett Pierce, Drew T. Pierce)
The Wretched, arriving perfectly in tune with the season of horror, could have just been another witchy tale, but instead takes a unique bite out of the genre, becoming a viciously good time.
Teenager Ben (John-Paul Howard) is staying with his Dad (Jamison Jones) and new girlfriend (Azie Tesfai) after a car accident. He’s forced to work at the marina, where he makes friends with the charming Mallory (Piper Curda). A child of divorce, it’s clear early that he’s going through something and his angst is especially evident in the beginning as he barely makes conversation with his father and has to suffer through uncomfortable times with his father’s partner.
The neighbors, who have an infant and another young boy, are also all pieces in this feature. Ben watches the family with a continued fascination, especially as strange things start to occur, and they certainly do. From the opening scene, where we witness the first sight of the “wretched” being of the story, it’s obvious that the Pierce brothers aren’t reining in their attempt at horror.Which is a good thing.
The Wretched utilizes its choice to meander in the welcomed space of “seeing too much” and remaining mysterious. We see the witch, we see her changing in disturbing fashion, but it’s never in a way that seems excessive, which is a common setback of the contemporary genre. This witch seems to enjoy snatching children and taking on the skin of the mothers. This makes for some great creature effects, and a general peril infused tone. The neighbor Abbie, a mother played by Zarah Mahler, is the first stuck under this disjointed, menacing shadow. Some of my favorite moments are when she first takes her form, and there’s an unsettling (matched well with the slimy, creaky sounds effects and well-chosen score) sensation.
Directors Brett and Drew Pierce concoct a very modern and refreshing (in the way that it’s wonderfully disgusting, of course) retelling of an occult favorite. While Ben is meandering through his own familial issues and growing pains, we’ve also got the witch -quite literally- growing into her new skin.
One element that I loved? The lack of a reason. Much like some slasher/psychopath portrayals, the absence of an explanation or motive makes it somehow more sinister. Why is she is doing this? Is it just survival or something more? After all, she seems to have a very specific targeted audience. Their ability to flit between moods is some of the more impressive elements of the film. The ability to show horrific images is far easier than it is to instill a sense of deep-seeded distress, and with The Wretched, they succeed.
Drowning (Melora Walters)
In her newest (and only second feature) Writer/Director/Actress Melora Walters proves she is as entrancing on camera as she is capable behind one. Emotional and compelling, Drowning is an introspective and beautiful telling of one woman’s journey through her own pain and coming to terms with life’s inescapable reality: we’re all suffering, and we will all eventually perish.Yes, this is a heavy film, and Drowning barely comes up for air in its telling. Though, Walters digs up some organic moments of laughter that always seem timed just as we need them.
Walters plays Rose, who has a son in Iraq, while her daughter is away at school. Her relationship with Frank (Gil Bellows) is suffering, and she can’t relinquish and accept her lack of control. Before her son left there was an incident, so along with her incessant fear, Rose also feels guilty. She’s constantly worried about him, at times seemingly existing from each call received, finally taking a breath when she hears his voice. There’s a terrific use of color (or lack thereof) and other visual and sound decisions that make this isolation feel very potent.
As a main conceit, there’s nothing particularly revelatory about the concepts of Drowning and yet it’s a universal truth, even if this specific character’s voyage doesn’t feel specifically relatable to some viewers. The characters written, which further shows Walters’ talents, all have their own balancing acts; the push and pulls of life’s fleeting nature. She takes real care in giving us Rose’s (and all the other characters’) strife, as we learn more about her friends, including the wonderful Mira Sorvino, and their own perspectives. Rose might be our focal point, but it goes beyond that as she cultivates new relationships, tries support groups, and also learns to battle her fear of the water by learning to swim.
It’s a mature film that really utilizes its inspirations wonderfully. Watlers appreciates the art of cinema and creates something truly worthy of discovering. I’ve always thought of her performance in Magnolia to be one of my favorites of all time, and as Rose, she shows that her ability to keep your attention and your compassion, hasn’t faded. With Drowning, we get a real sense of isolation, internal torment, and the beauty of life and death. One of my favorites of the festival, I can’t wait to see what she does next.
Stay tuned for my interview with Melora Walters!
A Patient Man (Kevin Ward)
The main character, Tom (Jonathan Mangum), bides his time, and the movie – even more so. What works in this yawning narrative also ends up being its detriment. By the time the resolution is made, you’re not sure how much you are invested anymore.
Each day he rides the train, scarred from an automobile accident and the tragedy that ensued. He’s detached at work, he’s bored at therapy, but on the train, specifically with his new acquaintance Aaron (Tate Ellington), he seems devoted. In a way it is coldly reminiscent to a predator stalking his prey. And that’s exactly what he’s doing. This isn’t by accident and this setup is for a longer con.
The film uses repetition often and well – not only reminding us of the routine he’s stuck in, but the very common one of life. His frequent alarm clock, visits with the psychiatrist, riding a bike and the train…they are all portions of his new routine. This is one which seems to be sunk in monotony, but is really quite determined. Before the catalyst of this story, a car accident killing his wife, we get visions of their life together. Things weren’t perfect, she was unfaithful, and they had their fights. There’s a bit of a conspiracy element to the story, also written by Kevin Ward that wasn’t necessary, but otherwise (despite some pacing complaints) the film plods on, heavy and uncomfortable. Jonathan Mangum plays the role with a man devoid of purpose and emotion, struggling to reset after devastation. As the story progresses, you see the small details of his performance that prove it’s more than that. Is this a great film? No.
At times, you’ll feel sleepy on its trip to a conclusion. In theory this is a functioning concept, and in implementation it gets a little lost. I think the writers work too hard on giving us suspenseful twists that we don’t need. Anyone watching knows what this man is going to do, or what he’s contemplating, and that human emotional response and torment, is enough to warrant a film encapsulation. I wish there was more to appreciate, but I still find it to be a modicum of its potential.
A Patient Man is a film of endurance and meticulous contemplation. When something horrible and life-shattering happens to you, for some, this means replaying details over and over. This may also, potentially, be proceeded by plotting. This could be plotting forward to some form of resolution and acceptance, or in this film’s case- revenge and the clouding effect it can have.
Were you able to catch any of these films? Any you are looking forward to? Let us know in the comments below!
All three films were shown at Austin Film Festival 2019. Stay tuned for more coverage!
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