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| Images Courtesy of Persimmon Films |
Jake
Horowitz's A Thousand Cuts is an unexpected Marvel. A comedy-mystery
film that is a nesting egg of emotional torment, toxic relationships, and
forbidden secrets. Using a chamber piece approach and a split timeline
narrative, Horowitz weaves an interesting and surprising tale of madness
and woe. Featuring a madcap duo of performances, intriguing visuals, and
an interesting whodunnit, this is one of the most unique films of the year thus
far.
Roberta and
Frasier are a couple on the rocks who are also the co-hosts of a live true
crime television special that delves into an unsolved 30-year-old murder, while
broadcasting from the decrepit family's mansion where the crime took
place. As things begin to unravel, Roberta realizes that many elements of
the tragic couple at the center of the story mirror her and Frasier's decaying relationship,
spinning things dangerously out of control as the night goes on. Horowitz also
wrote the script and co-produced. The dialogue has notes of pitch-black
humor, however at the center it is a gothic mystery entwined with a rather odd
love story. Storm Steenson and Jonas Chernick star as Roberta and
Frasier. There are some unique tricks that are used within the
presentation that allow the viewer to exist both in the present and in the past
with Bernard Balance (the victim) that is made possible by the pair's committed
performance. Their chemistry is perfect, mimicking screwball
sensibilities from the golden age while dovetailing with gothic tropes that
enhance what could have been yet another streaming mockumentary.
None of this would be possible without the stellar location used in the shoot. The mansion is a character unto itself, constantly threatening to collapse under the weight of the past transgressions committed within its walls. The title is a symbol, not only of the way Balance was killed, but also of the ways in which we hurt those we love, slowly and deliberately. This is enhanced by Jess Craymer's production design, filling each locale with possible clues and dangerous curios. The final piece is Paul D. Maxwell's cinematography. Maxwell's attention to detail and lighting allows two timelines, the past and the present to essentially live within each other and while changes to hair and makeup allow for some subterfuge, it is the framing of each sequence that allows the story to move to its inescapable conclusion.
Now available
for streaming, A Thousand Cuts is an exceptional indie thriller.
While its budget is meager, its talented director, cast, and crew use their
considerable talents and clear passion for the material to create a quirky
mystery with a lot of heart.
--Kyle
Jonathan