Become Lost with the EVIL in Your Head. “Faye” reviewed! (Reel 2 Reel Films / Digital Screener)

Author Faye L. Ryan has found success as a career writer penning personal growth and self-assurance books, but the renowned author has hit a mental wall in growing out of the process of mourning for her deceased husband, killed in a car accident in which Faye was at the wheel.  Scarred physically and mentally with painful reminders of that fateful night, Faye struggles to focus on her next new book, threatened to be dropped by her publisher if she doesn’t meet their deadline, and interacts with her husband as if he was still with her in person.  In a last ditch effort to get Faye back to writing before cutting her loose, the publisher offers up a lakeside vacation house to help focus on her work, but as Faye settles into her new, quiet writing space, she finds herself unable to escape a haunting presence tormenting her. 

Working solo is tough.  Having no one to bounce off dialogue or react to their disposition can be daunting and unnatural for most actors and actresses.  Yet, the titular character in “Faye” must do very that to ensure Kd Amond’s 83-minute feature directorial about loss, grief, and the supernatural representation that braids into a broken reality will exist without suffering stagnation.  “Faye” is a 2021 female-driven horror-drama written by Amond and the film’s lone wolf star Sarah Zanotti as the two filmmakers reteam from the previous year’s dysfunctional family thriller, “Rattled.”  Shot between Nashville, Tennessee and the cabin resort of Lacombe, Louisiana, “Faye” is cut from an all-female producing team of by Amond, Zanotti, Sara DelHaya, and Nicole Marie Lim under Amond and Zanotti’s independent film production company AZ if Productions.

So, how did Sarah Zanotti perform going at the role alone with not another single body in sight?  Aside from the performance scale, initial first thoughts about an emotionally processing Faye rings clear that she is definitely alone with her thoughts without ever confronting her past head-on.  Faye, more or less, brushes the incident to the side, drowning herself in wine and loathing, until vague, intermittent memories pull her back down to reality every so often.  The role gratifies a sense of a struggling individual’s unintended and deeply personal isolation stemmed by unable to grasp with the hard to deal with issues to where’s she’s invented an imaginary friend in the form of her late husband in this pretend world of being normal, routine, and safe.  Looking from the outside in, Faye invokes pity on the saddest level as she converses with thin air as well as drinking large quantities of wine alone. There’s even the suggestion in either flashback scenes or maybe representational moments of despair that she, at one point in time, committed to, or thought of, suicide. As for the “Archaon: The Halloween Summoning” actress Zanotti? The actress, singer-songwriter, and proud cat mother (as stated on her personal website) breathlessly engrosses herself in Faye’s darkest moments with a ramble of insecurities that skate around the main issue until that issue manifests as a specter of duality, haunting “Faye” with her own scarred image that won’t allow her to leave until she combats the guilt eating her away. However, Zanotti’s a bit one tone through the entire storyline, never zig-zagging in a full range on emotive spectrum when face-to-face with the emulated specter. There are guest voices in the film whenever Faye takes or makes a phone call, including vocals from Corri English as Emory the publisher, Dean Shortland as Bobby, Brian Vance as Jacob, Kd Amond as Faye’s mom, and Zanotti as Elle.

To carry an entire feature film on your shoulders is empathetically tough for the one and only principle lead Sarah Zanotti and also the director Kd Amond as well and I wouldn’t declare “Faye” to be an overstimulating visual film albeit snazzy editing and makeup effects when sucked into supernatural self-reproach and suffering. “Faye” leans heavy into self-centered conversation in an acerbic chaptered and non-linear context that can be difficult to follow it’s pathway structure at times when the titular character is not framed in the cabin but rather sitting, speaking on a well-lit platform that fits her personal growth expatiate, like a Tony Robbins-type, connecting back to Faye’s mindset or actions in the cabin. Though much of the conversion is directed toward herself or the mental image and two-way communication of dead husband, a good chunk of the dialogue is the unwavering tough love business-speak between agent and client. Faye publisher rakes in money based off book sales and if Faye isn’t writing up drafts than a publisher does not care about your personal tragedy. That dynamic during the calls feels utterly cold with no pity or sympathy for Faye in the voice of the agent who cares solely about client image for publicity and is determined to nag a draft out of a woman who has lost her best friend in life – grief and guilt be damned. As a spook show, “Faye” whips up a few moments of fearful highlights but does little to the film’s self-proclaimed horror label when more of the acidity of internalizing the death and destruction of her life becomes more manic without the monster that’s introduced too late or comes too little often to be integrated into the story properly and stands out as negative concentrated symbolism.

Oozing with heartbreak and melancholy, the fracturing viability in “Faye” calls forth the detrimental impact and for reinstation back in the society, one needs to fall before getting back up. Reel 2 Reel Films brings the American-made, woman-driven, atmospheric and apparitional “Faye” to the United Kingdom on digital home video come May 9th. Since a digital screener was previewed, there will be no critique of the audio or video qualities. Kd Amond was really a one woman show behind the camera by taking on not only the directing duties but also many others, including cinematography and visual/practical effects and for “Faye,” the film was mostly captured with natural lighting outside the cabin, practical lighting for cabin interiors, and key lighting of Faye on stage. There’s use of a filters during the more supernatural plights and to tell night scenes that don’t look natural, leaning toward a more style-choice purple. For any extras, there were no bonus scenes during or after the credits. “Faye” has strong bones for a good grief and guilt ghost film in the indie realm and while it doesn’t have the star-laden power of other similar themes of its kind in “The Babadook” or “Hereditary,” “Faye” still invokes the power of hurt and the summoning of self-condemnation.

Hide Your Children! EVIL Comes For Them! “Achoura” reviewed! (Dark Star Pictures / Digital Screener)

“Achoura” now available on Prime Video!

Broken by witnessing the kidnapping of their friend Samir, Ali, Nadia, and Stephen’s lives are plagued by the past and turmoiled in the present as adults.  When Samir is miraculously discovered alive, a realization of truth begins to flood back into their memories as the kidnapper’s intentions were to stop a malicious, child-devouring entity by stowing the demon away in Samir’s body as an encapsulating prison.   The demon, known as the Bougatate, uses the joyous celebration of the Muslim holiday Ashura to snack on beguiled youth and is now free to feed upon ripe, happy children once again, especially Ali and Nadia’s young son.  The four friends must band together and seek to destroy Bougatate on his own turf, a decrepit rural French house engulfed in nightmarish lore. 

Nothing says originality and mind-broadening concepts more than when international filmmakers weave the fabric of their folklore, the sequin of traditions, and the raw materials of cultural customs into their fabrication of creativity.  Director and co-writer Talala Selhami takes us on that very journey through Morocco with a tale based off the concepts of a shifty Djinn-like urban legend terrorizing children of the Ashura celebration with a shadowy, jaw-opening and jowl-extending monster devouring children like a snake in this 2018 released supernatural, child-be-vigilant thriller, “Achoura.”  Selhami’s sophomore film comes 8 years after releasing the cutthroat hiring practices of Corporation authority over the applying individual in “Mirages.”  The French-born director helms a script penned by Jawad Loahlou and David Villemin showcasing the horrors of loss, sometimes forgotten, amongst the Arab-Berber population.  The half-crescent coast of Casablanca becomes the main shooting location for the Moroccan-French co-production under Moon & Deal Films, Overlook Films, Orange Studio, and Black Lab VFX produced by Selhami and Lamia Chraibi with executive producers in Caroline Piras (“Among the Living”) and Rachida Saadi.

“Achoura” has been described as the Moroccan “IT” where four childhood friends reunite to face a preadolescent predator known as Bougatate.  That analogical sentiment is extremely on-point to the detriment of “Achoura’s” North American release; I, myself, before reading any other external comments, had thought “Achoura’s” story walked the same line as the 2017 remake and strongly resembled Pennywise in intentions and, in some ways, specific ways he – or rather it – tricks and consumes children.  The four friends are also similar to certain characters in the Loser Club, but the Sofiia Manousha is the least affected by her past, reimagining what happened to her friend, Samir (Omar Lotfi), as nothing more than being an abducted whim of a pervert’s fantasy.  Samir is the younger brother to Nadia’s estranged husband Ali (Younes Bouab), a brooding, sleepless detective ceaselessly on his brother’s case as he dives deep into old investigative interview footage and cigarette packs he continuously bites the filter off of each cancel stick.  The pain Ali bottles up is complete poison wonderfully conveyed as well as the interpretation of trauma from the last friend of four in painter, Stephen or Stéphane as the character is credited.  Played by the Spanish born Iván González, whose worked on a pair of intense thrillers – “The Divide” and “The Crucifixion” with director Xavier Gens, Stephen singles himself the only person that remembers what actually happens as González glosses the artist with starry eyes and a verbally shaken recollection of monstrous images.  The one performance thought to be the weakest link was Omar Lotfi’s Samir, an imprisoned man-child imprisoning a demon with him, and Lotfi’s infantility as a grown man freed from confinement and a demon crossed too intractable goofiness, leading the Samir away from being a sympathetic character into more of a cartoon of one.  The cast is relatively comprised of the four friends with minor parts here and there in roles from Mohamed Wahib Abkari, Jade Beloued, Abdellah El Yousfi, Celine Hugo, Gabriel Fracola, Mohamed Choubi, Noé Lahlou, and Moussa Maaskri as The Guardian incarcerating Bougetate inside Samir, who we assume is the same boy from the film’s prologue setup but never actually verified.

While “Achoura” draws many comparisons to “IT,” Selhami sepulchers itself into an overwrought, yet hugely overworked subgenre of shrouded gangly presences lurking from the darkest corners of the room to bring antagonism toward children.  “The Babadook” comes to mind with the manifestation of grief descending upon a single mother and her child.  Same theme can be extracted from “Achoura’s” grief and trauma over the loss of their friend and how they represent the condition in different ways:  Nadia chooses to reimagine the event to a safer, saner memory, Stephen expresses his horror through painting, and Ali’s guilt drives him to unhealthy habits in looking for his brother.  The Bougatate is akin to a pedophile robbing children of their innocence, a motif that extends from the very beginning of the story with a preteen boy expressing his affection for a girl his own age before Bougatate seizes upon them.  Their innocent and charming clandestine affair is kept from her betrothed husband, who’s creepily decades older, in a mind-boggling and unpleasant idea of children arranged marriages that sets the misguided tone for a sordid underlayer that sparks Bougatate’s resurgence into the world.   Though I like the tone of the film albeit a vague carbon copy of others like it, what I find to be tone deaf is the often clunky special effects surrounding the entity’s polished look.  One attribute belonging to Bougatate is the legion of flies that constitute his form in what has diminutively become just a bunch of nano byte specks moving in menacing unison and swallowing (or being swallowed) anything in their path. The non-linear format that double culminates the unravelling in present and in flashback past retains a sustainable 90-mystery.

One of the last horror films to be released in 2021, “Achoura” came to digital platforms and DVD home video this past December from Dark Star Pictures, the same company who released the phenomenal Veracruz folklore and Bruha horror, “The Old Ways,” and the Mickey Reece’s perfectly subtle nod to vampires and depression in “Climate of the Hunter.” Since a digital screener was provided, commenting on the DVD audio and video quality is a no-go, but the Mathieu De Montgrand offers harsh hard lit scenes vast in depth, a breadth of landscape between the countryside of France and Casablanca shoreline, and excellent action and tracking shots to instill the appearance of a big-time movie. Montgrand is definitely not just a point and shoot cinematographer as he can build suspense purely on his angles along with Julien Foure’s editing of the flashback montage that tells a bigger side of the four friends’ history yet to be revealed. “Achoura’s” bleak analogy of children’s innocence being consumed by the complexities of adulthood problems understands the unstoppable crossbreeding crisis of blending youthful naivety with seasoned reality to the point of no return that one day all unspoiled exuberance will simply be eaten into oblivion.

“Achoura” now available on Prime Video!