After finding Playdurizm (2020-also reviewed) to be an odd,flat opening title to the weekend of screenings at the Soho Horror Film Festival focused on works from LGBT film makers, I decided to play the second feature title in the line-up before the night was over.
Note:This review contains some plot details.
View on the film:
Introducing the screening/stream detailing the attempt to make this a Southern Gothic tale, editor/ co-writer (with Lenny Schwartz)/ director Richard Griffin & cinematographer John Mosetich reach out for the pitchfork, but come up empty handed, due to the parlour being filmed in a horribly misjudged flat, saturated colours manner, which wipes out any sweltering Horror mood being left hanging in the air.
Whilst failing to take jabs at chills, Griffin displays an elegance in unlocking a sensual atmosphere of long/lingering close-ups on staff and clients building up the tension, which climaxes in infer red and blue lights laying on their bodies in the aftermath.
Using the daylight to explore the background of the parlour and the relationships of those who partake in kinky activities, the screenplay by Griffin and Schwartz destroy the opportunity for deep characterization, by tugging the dialogue to a dry, numbing repetitive state that leaves all the residence of the parlour at a dead end before the night is over.
Note:This review contains some plot details.
View on the film:
Introducing the screening/stream detailing the attempt to make this a Southern Gothic tale, editor/ co-writer (with Lenny Schwartz)/ director Richard Griffin & cinematographer John Mosetich reach out for the pitchfork, but come up empty handed, due to the parlour being filmed in a horribly misjudged flat, saturated colours manner, which wipes out any sweltering Horror mood being left hanging in the air.
Whilst failing to take jabs at chills, Griffin displays an elegance in unlocking a sensual atmosphere of long/lingering close-ups on staff and clients building up the tension, which climaxes in infer red and blue lights laying on their bodies in the aftermath.
Using the daylight to explore the background of the parlour and the relationships of those who partake in kinky activities, the screenplay by Griffin and Schwartz destroy the opportunity for deep characterization, by tugging the dialogue to a dry, numbing repetitive state that leaves all the residence of the parlour at a dead end before the night is over.
