 |
| Images Courtesy of Gearhead Camera |
Daniel John
Lerch's debut feature film is a lovingly crafted homage to Dario Argento's
masterwork, Suspiria. Drenched in reds and blues, it emerges from
the shadows and settles like a phantasm into the viewer's subconscious,
lingering far after the credits roll, much like the various nightmares that
inspired its creation. Featuring
remarkable visuals, impressive set design, and a memorable concept, this is one
of the more intriguing horror offerings of the year thus far. Saturnalia
is both a celebration of the past and a modern incarnation of the tried-and-true
theme of rebellion, fate, and mystery.
Orphan Miriam
Bosconi is shipped off to a mysterious boarding school in 1979 Virginia.
While her rebellious tendencies put her at odds with the cruel headmistress,
Miriam begins to discover that a dark conspiracy has settled within the
academy's walls and that she may play a key, but terrifying part. Lerch
cowrote the script with Julia Nilsen and Darrell Workman. The dialogue is
stilted, perhaps on purpose, particularly with respect to Headmistress Hemlock
(Velvet). This is contrasted by the slick interplay between Miriam
(Sophia Anthony) and the RA, Holden Sax. The duo has natural chemistry to
intensifies as the narrative unfolds. There are additional, “Mean
Girl” stand ins which accentuate the boarding school vibe, but this is
Miriam’s story, from start to finish.
While Miriam
and Holden take up the lion’s share of interaction, Velvet’s turn as the
villainous and mysterious Ms. Hemlock is perhaps the most fun, as the actress
chews scenery with aplomb, particularly during a sequel involving food as a
punishment. Her turn as both authority
figure and keeper of secrets, both
esoteric and mundane, is the key ingredient to Lerch’s overall creepy vibe.
Claudio
Simonetti (Goblin) scores the picture, hearkening back to Goblin's
legendary Suspiria theme. The real star, however, is Max Fischer's
dangerous cinematography. While comparisons to Suspiria and Giallo
films are unavoidable, there is also a strong connection to Simon Barrett's
woefully underrated Seance'. The scenes of the academy are tight
framed and full of academia related colors while the "other world" is
flooded with crimson and azure, especially during a pitch perfect opening that
announces without hesitation, this is a child of Argento.
Now available
for digital rental, Saturnalia does not reinvent the wheel, but it does
declare its love for its cinematic ancestor with poise. Packed with
vibrant imagery and gruesome kills, this is a slow burn horror story that doubles
as an impressive debut and loving homage.
--Kyle
Jonathan