Holly seems to have it all: two kids, a nice house, a good job as a teacher, and a husband with his career on the way up. But there are troubling signs that all is not right in her world. The insomnia. The medication for the insomnia. The dreams from the medication for the insomnia. The arrival of her estranged sister and a mouse invading her home doesn’t help either. Add the weight of a dark secret, and her already delicate balance collapses, sending her spiraling out of control.
Last year’s Brooklyn Horror Film Festival brought a movie into my world that still haunts me. The Swerve is a film that, in many ways, made me feel seen. You can read my review here. This week, The Swerve finally comes to audiences nationwide. I was lucky enough to chat with writer/director Dean Kapsalis and star Azura Skye this week. When I say this film will stick with you longer than it should, I am not exaggerating one bit. It is unpredictable, it gets under your skin, and Skye is remarkable. Pay attention to this carefully crafted script. There is foreshadowing everywhere, the classroom especially. These are deliberate choices made by Kapsalis. They are genius.
Here is my interview with Dean and Azura…
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Firstly, congratulations to you both on an extraordinary film. There is so much amazing material to talk about in The Swerve, so let’s dive right in!
Dean, what or who inspired this script?
Dean – I was raised by and around strong women. Over time, I witnessed the weight of living manifest in them as mental illnesses. My experiences and observations became lodged somewhere deep in my psyche and coincided with (or perhaps fueled?) my appreciation for Gothic literature, Greek tragedies, Shakespeare, etc.
Azura, what was the first thing in this script that made you think, “I have to tell this woman’s story.”
Azura – When I first read the script, I immediately recognized Holly as the role of a lifetime. As an actor, you can only hope that you’re given something this juicy, and layered, to work with — but it’s rare. This is without a doubt the most challenging role I’ve ever tackled, but given the opportunity, how could I say no? I knew it was something I had to do, as daunting, and intimidating as it was.
Dean and Azura, Moms are so often pushed aside in narratives. This script highlights the weight of motherhood in such a real way. The isolation, the stress, the pressure to be everyone’s caretaker. What were you hoping the take away would be for an audience? I imagine it might be different, perhaps based on gender?
Dean – My hope is that audiences feel something from it. The reign of patriarchy over women is as powerful and relevant now as it was during the era of Shakespeare. Different, modern pressures, surely, but it hasn’t changed much on an emotional level. I think that’s why the characters and themes in Shakespeare are still so identifiable.
Azura – A big part of Holly is her silent suffering. She puts on a smile, and a brave face as she seems to adeptly juggle the various roles of wife, mother, sister, daughter, teacher — but inside she’s nearing a breaking point, as she struggles to keep it together. She’s right at that tenuous edge, where something as small as a mouse can be the tipping point that sends her spiraling downward. The straw that breaks the camel’s back, if you will.
One thing I hope audiences of all genders take from this movie is a reminder that you never know what’s going on with the person next to you at the grocery store. You have no idea what kind of day they’ve had. Maybe they’ve just lost a loved one, or are dealing with any number of possible traumas or tragedies. Everyone’s having to cope with a lot, some more than others — especially now. I hope this film is a reminder not to assume that you know what’s going on in someone else’s life, or in someone else’s head. Often times, we don’t even know what’s really going on with our closest friends and family. Or even our partners, for that matter. Everyone suffers, in ways we often never know, so let’s try to be kind and careful with one another.
As a 40-year-old mom of two toddlers who used to teach high school, this obviously hit me in a personal way. The character of Paul is so impactful. Even with the inappropriate power dynamic, you understand why his presence is so consequential to Holly’s entire journey. Dean, can you talk about the decision to use him as a catalyst? And for Azura, what was your reaction to Holly’s choice to go along with such an affair?
Dean – I never thought of it as an affair, but as a need for Holly to express and connect. But there is no joy in it. Paul has a kindness to him. He sees Holly in a different way than the other male characters in the film, but it is absolutely an adolescent’s fantasy and is no less dangerous.
Azura – Holly feels invisible most of the time. Especially at home, where she feels taken for granted, unappreciated; unseen. Paul is so pivotal because here’s someone who really sees her — and thinks she’s amazing. Thinks she’s beautiful. With Paul, Holly feels recognized, and appreciated, for the first time in far too long.
When I first read the script, this particular storyline was so interesting to me, because it was written in such a way that even though this woman is clearly behaving in an abhorrent, and inexcusably inappropriate way, I did not see her as a monster. It just made me really sad. This thread of the story is also one of my favorite parts of the film. Zack Rand, who plays Paul, was so brilliantly cast, and he gives a phenomenal performance.
Let’s talk about the score. It really makes the mundane feel important. The grocery shopping in the beginning, for example. It’s a melancholy that puts you into Holly’s state of mind.
Dean – I noticed mothers, my own included, that seemed to take grocery shopping not as a chore, but as a respite from other activities. However, the aura of the past and the outside world is inescapable. It was important that the score reflect that.
Dean, Paul’s sketchbook is stunning. Who did the illustrations?
Dean – The artist is Jocelyn Henry. She was a recent fine arts graduate and I took a shine to her work. Her initial sketches were a little too polished and I had her scale them back so that they were more reflective of the hand of a developing high school student.
Azura, had you seen the drawings prior to filming?
Dean – I showed them to Azura, but explained little or nothing. I guided her to the reactions needed for the scene.
Azura – I don’t think I saw the illustrations until the day of filming. I definitely had a visceral reaction to the ones of myself. There’s something quite intimate and slightly jarring about it. There were a couple that I actually wanted to keep, but sadly I was denied. I was told they were done by an artist in New York, but I’ve always secretly suspected that perhaps Dean himself is the artist. I’m curious to see how he answers this question.
Holly’s very buttoned-up, very conservatively presented. Can you tell me how her wardrobe affected your physicality?
Azura – It affected me very much. As wardrobe always does. In some ways, I don’t really know who a character is until I put on their clothes, and it was no different with Holly. I didn’t meet the costume designer (Eric Hall) until a few days before we started filming, and as soon as I started putting on the wardrobe I started to get a really strong sense of who Holly was. She really started to make sense, and take shape, quite literally. I thought her clothes were a little sad, sometimes even a little silly. Someone who’s really making an effort, but doesn’t always get it quite right. There was a vulnerability and a self-conscious quality to the way she put herself together. I found the buttoned-up rigidity to be very informative, and it was helpful in that it was a constant reminder as to the way Holly held herself. It very much affected the way I moved. In her restrained, buttoned-up attire, she herself is contained, and restrained; even slightly holding her breath.
You’re really rooting for Holly when she stands up for herself but the emotional abuse from her family is endless. They are incredibly manipulative. But Dean’s script and your performance are so strong that I began to wonder if I was seeing things along with her. Azura, did you ever think that what Holly was seeing and experiencing wasn’t real?
Azura – Of course I thought about it, and that was something I discussed with Dean. I like that certain parts of Holly’s experience are open to interpretation, but for me the actor, I had to play it as if it were all 100% real, because for the character it is.
Let’s talk about the mouse. Is the mouse Holly?
Dean – It could be. Or was it a warning? A guardian? Was it ever even there? It’s more important how the viewer feels about it. And I never discussed meaning with the cast or crew.
The final chapter of this film is nothing short of devastating. As a mother, as a human, it has stayed with me since I saw the film last year. It’s truly haunting. It’s a bold choice that is not only a beautiful recall to the story in the beginning but one hell of a gut-punch to the viewer. Did you both hope the audience would sympathize with Holly as the credits rolled?
Dean – Yes. Prior to the pandemic, abuse, mental illness, and suicide were on the rise across genders, and since it’s only increased. My hope is that audiences feel something and can relate in some way to her plight. We’re all human. We’re all in this together.
Azura – It is a harrowing and haunting final act. One that in large part made me want to do the film. I think I was probably far too consumed with the task at hand to really think about how an audience might interpret it.
Mental illness is a hot button issue. Do you think people are now more comfortable talking about it openly?
Dean – Social media is a two-edged sword, but people seem to be more open about sharing their experiences. The world can be so overwhelming. They want to connect. They want to heal.
Azura – It does seem like we’ve started to talk about it a lot more in recent years, which is so great. You have people like Michael Phelps doing commercials encouraging people to seek help, and so many other public figures speaking candidly about their struggles, which makes it so much more accessible, and perhaps even acceptable. It definitely seems like something we’re discussing more and discussing more openly.
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Massive thanks to Dean and Azura for their very generous time with this interview. THE SWERVE is now available on Digital and VOD
https://www.youtube.com/watch?v=KZr3BUrk6zo&ab_channel=movieweb
THE SWERVE celebrated its world premiere at the 2019 Cinepocalypse Film Festival, and screened at the 2019 Panic Film Festival; winning both awards for Best Actress for Azura Skye. The film will be releasing on major VOD/Digital platforms beginning Tuesday, September 22, 2020.
To adore the look of this film is to be, perhaps unknowingly, a cinephile. The black and white cinematography begs for your attention, as does the handheld camera work and editing. Bathed in natural light, you cannot help but be completely enamored with Buck Alamo- A Phantasmagoriacal Ballad from the very beginning. Then color kicks in. Simply beautiful. It screams authenticity. The score has a quaint and sometimes ominous feel that is delightfully matched with the plot. Our leading man pours every ounce of himself into this role. Once he’s given a death sentence by his doctor, he seems to make amends with his children who want nothing to do with him. He does his best to come to terms with the state of his life through music and storytelling.
Oldenburg Film Festival is lucky to share this feature’s World Premiere. Buck Alamo is a family affair, made with love, attention, and creativity. It directly begs the question of legacy. As the music ramps up, so does the plot. This film lives and dies in those musical numbers. And I can easily attest, Buck Alamo – A Phantasmagorical Ballad is very much alive and kicking, ladies and gentlemen. Sit back, relax, and take in all the glory of this incredibly unique viewing experience.
NO ESCAPE puts a modern, social media-driven twist on the ultimate adventure seeker. Think Hostel (2005) meets The Game (1997) as Youtube influencer Cole (Keegan Allen) and his friends fly to Moscow to experience what they think is a one-of-a-kind escape room. Once they arrive, they’re wined and dined by a local rich kid before being led to their final destination. But not all is what it seems. As an avid watcher of all things horror, the setup rightfully lulls you into a false sense of fun with its club scene music, lighting, and awesome camera work. Then the other shoe drops, calling out Cole’s obsession with his stats over his own reality. His cocky persona is knocked down several pegs when he realizes his friends’ lives are in actual danger.
The film is written and directed by Will Wernick (Escape Room, which was fantastic), will easily tap into the younger generation who has literally grown up with social media. At 40, I was around for the birth of chat rooms in 8th grade. As someone who is at the mercy of social media in my work now, I understand the importance and the danger of such platforms. The internet is a weird place. One of the most effective pieces of the script is the ever-rolling comment section of Cole’s videos. It’s a fantastic insight into an audience “in real-time.” While the entire cast does a great job and has believable chemistry, Keegan Allen’s performance leads this film to success. Having been a fan since Pretty Little Liars, then watching his award-worthy skills in 
Now that I’ve has some time to sit on this film, I realize that the entire premise is based on deceit. While centered around the premise of actually getting to a music festival, it is really a selfish trip meant to distract, take advantage of, and use Stacey, the only female character in the film. She is manipulated by her boyfriend so that he can have one last hoorah before being kicked out of the country on an expired visa. He delays their arrival to take in the sites and generally be kind of a douche. While that sounds pretty awful, it’s a great setup for dialogue and genuinely hilarious shenanigans that ensue. Directed by 
Jason Biggs plays Phil, a documentary filmmaker whose conscious ways heavy on him. The Subject is aptly named. Phil made a film about a black 15-year-old whose murder is caught on tape, by him. It’s been two years, he’s worried that Malcolm’s death means nothing back in Harlem. He’s onto his next project but cannot shake the guilt of possible exploitation, nor can the press. His girlfriend wants him to get over it, but Phil tries really hard to do the right thing. After finally attempting to move forward, the other shoe drops. Someone begins filming him.
Anabelle Acosta as girlfriend Jess is very compelling. There is a lot to learn from their relationship dynamic and it comes into play heavily. Carra Patterson as Marley is quite the catalyst for chaos. She gives off a Maya Rudolph vibe and I dug her energy throughout. Nile Bullock’s performance as Malcolm is exactly where the audience needs him to be; balancing the line of an arrogant teen and an innocent child. Jason Biggs is better than ever. He plays Phil with an understanding of power and guilt. It’s stunning. Aunjanue Ellis plays Malcolm’s mother, Leslie. The scenes between her and Biggs are explosive. She represents so many mothers who lose their children to violence. Her performance is the culmination of everything in this film. Cutting through mansplaining and truth, everything leads up to these moments. The Subject is phenomenal in its storytelling. It’s a must-see film. Harlem International Film Festival was a fitting home for its Manhattan premiere. The film has an ending you will not see coming. Congratulations to director Lanie Zipoy and everyone involved in making this film.
As a parent, sometimes a film is like a slap in the face. Agustin McCarthy‘, LOOK AT LUCAS is one such short. The plot is simple, a mother and son take a weekend away at the beach. Mom struggles to leave work at work and her son simply wants to spend time together. Parenting today looks very different than it has in the past. With all the stress and expectations, sometimes our phones are the only respite from constant interaction with our jobs or our children. But, most of the time, they are a distraction tool. As a work-at-home-Mom, scrolling through other people’s lives for 10 minutes makes me feel less anxious, all the while I know that energy should be going to my kids, even if I am only a human who needs a mental break from time to time. Watching this sort of story play out from the outside was an entirely different experience. Seeing that scenario from the eyes of a child felt sobering. In the film, we track Mom Lacey desperately trying to finish a work call but also taking plenty of time for Instagram and the like. Her son Lucas just wants his mother to play with him, nothing more. As Lucas plays without attention, your anxiety will undoubtedly rise. You’re sort of waiting for the other shoe to drop but it will not be what you’re expecting. You will recognize yourself in the frustrated tone in actress Jessica Frances Dukes‘ voice. You may see your child in the eyes of Daniel Mekonen. McCarthy’s writing and directing make it easy to do. With a beautiful setting and relatable premise, LOOK AT LUCAS is a fantastic reminder to stop and look up. It can be the most important thing you do for your family.
The era of Blockbuster store glory also coincided with those weird interaction VHS boardgames. I had one called “Nightmare” where a Gatekeeper character would give you instructions and yell at you through the screen. It was equal parts hilarious and terrifying. Rent-A-Pal is a 90’s throwback filled with psychological terror that uses the same gimmick to the nth degree. Great stationary camera work and color choices really add the somber nature of our leading man’s state of loneliness at the beginning of the film. 15 minutes of brutally sad setup leads to a seemingly simple but chilling turn in the mood. Enter Wil Wheaton as Andy, David’s Rent-A-Pal. This bargain-bin VHS shows up when David seemingly loses out on the Video-Rendevous match of his dreams. His depression is palpable in Brian Landis Folkins’ performance. But, as someone who watched the degeneration of my own grandmother due to dementia, the heavy emotion is warranted. In an attempt to make himself feel better and out of sheer curiosity, David puts in this mysterious tape and “meets” Andy. A first glance, Andy is open and a really good listener. Lying just beneath the surface are clues of the more sinister. Perhaps it’s the language and mindset of the times, but some of his dialogue is almost like today’s incels. It is downright upsetting. Heightened by the editing, we get pieces of the video as David obsesses at learning its timing so his friendship becomes as real as it can be. To a lonely and socially awkward man, Rent-A-Pal is what the internet has now become to so many. Once he feels his luck changing, David is given the chance to take the girl of his dreams out on a date, but that instant connection is thwarted by Andy. The tension built up by the performances and clever structure creates an intensely ominous feeling. You’re constantly waiting for the other shoe to drop as David’s aggression ramps up and his sanity jumps over the edge. Wheaton brings a kind of brilliance to the film that is to be applauded. He has created a fully fleshed out villain without actually interacting with his co-star… as far as we can tell for sure. There were moments where I found myself staring at the screen longer than maybe I should have, wondering if my mind was playing tricks on me or not. Rent-A-Pal will disturb you. You will want to hit rewind again and again.
“An emotional avalanche of mourning and celebration” is perhaps the best way to describe the viewing experience. Director Tylor Norwood has mixed intimate sit down interviews with neighbors, friends, and Robin’s wife Susan, with television appearances, personal photographs, and most notably to the subject at hand, Robin’s doctors. As someone who’s grandmother recently passed from the same disorder, this hurt just a bit more. To have an inside view of the pain and fear and confusion that Williams (and his loved ones) must have been feeling, it makes this all the sadder. His doctors agree that his high level of cognitive function, much higher than the average person, is most likely what made the diagnosis so elusive. The man was nothing short of brilliant. Weaved into the film is his love story with Susan. She has become an advocate for the disorder. When you think of soulmates, these two are it. It is beautiful to watch. For the cinephile, Robin’s Wish is also a fantastic insight into his work and mindset from some of his most iconic career moments. But it is the personal asides, the conversations with injured troops from his USO tour days that will solidify him as one of the most treasured human beings of our time. To see him celebrated properly and more fully understood feels like vindication from the tabloid mess that initially ensued following his death. It was not deserved. It was shameful. This film is both a tribute and an education for so many suffering in silence. Robin’s Wish can come true in this documentary.
Making its world premiere at Fantasia 2020, The Paper Tigers is endlessly funny with amazing fight choreography. Any time a moment gets serious, a hilarious joke is cracked. It keeps the pace alive and well. Writer-director Writer-director Bao Tran has given audiences a real treat. When I told my husband about the plot, he lovingly jested “I liked it better when it was called Teenage Mutant Ninja Turtles.” And yes, it has a fantastic nostalgia that the series also possessed, and you cannot avoid comparisons to The Karate Kid. These are all genuine compliments. This film is sheer perfection for my generation because it feels like a love letter to martial arts films but has that extra something unique. As someone who is also currently binging Cobra Kai, The Paper Tigers arrives at the right moment.
The film has a simple enough setup but the script goes off the rails in the darkest way possible. There is a thread of manipulation that runs deep with Sylvester McCoy‘s dialogue. It’s not even hidden but it is enthralling to watch. As a Doctor Who and The Hobbit fan, this was so far out of the box for my experience with his persona it made my skin crawl. Can someone be too good at being bad? Maisie Williams holds her own against this maniacal couple and the group of misogynistic thugs in her sphere. The violence in the film is extremely high and she bares the brunt of much of it. Handling it like a pro, we are rooting for her survival from the very beginning. Writer-director Julius Berg (along with co-writer Matthieu Gompel) turns up the weird and evil with a subplot that is downright heinous. You’ll be sweating and yelling at the screen as you watch what happens to every single character. Another interesting subplot is centered around dementia. It goes hand in hand with manipulation but at times, you have to respect the way in which it ties in. It’s just so sick you cannot look away. The practical fx are gag-worthy but completely appropriate. I can easily admit that my anxiety was through the roof while viewing. Rita Tushingham‘s performance, in particular, gave me flashbacks to The People Under The Stairs and more recently, 
With a gorgeous opening sequence reminiscent of Creepshow and Spielberg‘s Amazing Stories, ( plus a blink and you’ll miss it homage to director Ryan Spindell as an easter egg) The Mortuary Collection was already going to be one of my favorites at this year’s Fantasia International Film Festival 2020. Honestly, you had me at Clancy Brown, a man who haunted my youth in Pet Semetary 2. The visual textures are nothing short of delicious. This film oozes eerie but in a strangely friendly way. Brown’s overall aesthetic lies somewhere between Lurch and Phantasm‘s Tall Man. It’s beautiful for a genre fan.
This horror anthology is told in chronological era order. Each one stylized to high heaven in all it’s glory. The specificity and care in which the sequences are dressed, the minute details like a nautical wallpaper, or the name of a frat house is not to be ignored. But the homages did not end with the titles. Evil Dead, Corpse Bride, Beetlejuice, The Shining, are only a few films that feel referenced. The performances are outstanding from every single cast member. But I’ll focus on Clancy Brown and Caitlin Custer, specifically. Brown in all his towering presence and booming voice glory is a mere half of this spectacular. His wise, seen it all manner of spookiness is nothing short of perfection. Custer’s smart-alecky persona is an excellent foil here. Her nonchalance both puts you at ease and tips you off to something darker. They are both undeniably incredible.
The Mortuary Collection presents us with morality tales wrapped in scary, unexpected delight. In no way whatsoever does it appear to have been made on an indie budget. It’s simply stunning to behold from every single angle. The practical fx are gross and gorgeous. The storytelling is both tongue-in-cheek and terror-filled. I don’t think I could have asked for anything more from Spindell except perhaps an entire franchise.
With a haunting score, Entwined is often the most effective when you have you don’t know what’s happening. Danae keeps you under her spell with her childlike innocence and otherworldly dialogue. Is she a princess held captive and pure from outside influence? She is positively enchanting. For Panos, that’s precisely the problem. In his attempt to be her hero, he falls victim to the mystery in the forest. Speaking of the woods, they are an entire character in Entwined. As is the ever-burning fire in Danae’s isolated cabin. But is he truly trapped?
Performances are lovely. 
Written and directed by Amelia Moses, BLEED WITH ME is an intoxicating look at social anxiety and self-harm. Rowan is the third wheel on a weekend getaway with her work friend Emily and her boyfriend Brendan. After passing out night one from too much alcohol, she awakes to find a cut on her arm. With traces of previously inflicted self-harm scars, Rowan seems hesitant to explain how and why it got there. As fresh cuts continue to appear and as Emily continually suggests that Rowan is ill, the three inhabitants are at odds with the dynamics developing in the small cabin. Is Rowan losing her mind? Is there a more sinister plot? Rowan’s supposed sleepwalking might be to blame.
With what feels like a psychosexual undertone, the relationship between Emily, Brendan, and Rowan has a power dynamic that feels skewed towards Emily’s liking. You can see the shift in power as Emily feels like Brendan is connecting with Rowan. While I initially setup would lead you to believe Brendan is a quiet instigator, but that quickly proves false. When untold secrets are revealed, you begin to feel more unsettled. The film’s look, essentially natural light and fireside chats make for an immediate sense of claustrophobia and foreboding. When you’re left with only your own thoughts, and perhaps the idea that someone is drugging and violating you, it can do a number on your perception of reality. I’m still pondering the ending of the film, and that’s most likely the point. I am left just as dazed as Rowan in the end. Moses has given us a frightening and panic-filled story ripe for the Fantasia 2020 audience. I would love to know what other viewers come away with. Whose side are you on? Bleed With Me is a slow-burn into madness.
Do not watch this film while high. It’s fucked up enough as it is. Writer/director/producer Ryan Kruger does not need you to tell him you had a complete and total mental breakdown while watching. Or perhaps that would be a compliment. Our leading, Gary Green is unreal as a man clearly effed up by aliens. His physical performance is so bizarre it’s perfection. The film is a study in human behavior from an outside perspective. It’s an actor’s dream. Green’s work is award-worthy. With very little dialogue on his end, Kruger’s screenplay allows for him to be totally weird but somehow completely believable in experiencing the complexities of the human race. Sex, drugs, people talking at one another rather than listening pretty much sums it up.
Halfway through it goes from strange to utterly dark, but you’re so far down the rabbit hole it only makes sense. There is a childlike innocence to Green at this point that will freak you out. A sick turn in the plot will throw you for yet another loop. Fried Barry‘s unpredictability is what makes it so arresting. It’s not the alien that’s frightening, it’s people.
All guts, all glory in this splatterfest zombie comedy. Fantasia 2020’s audiences will know what kind of film they’re in for by the tagline alone: “Facelifts, Boobjobs… and Zombies”. Yummy is a hilarious look at vanity through the zombie lense. I especially liked the when the female doctor traverses across a plank in what might be referred to as “f*ck me” heels. I’d love to know how many gallons of fake blood they had on set. I’m a sucker for great practical FX, so the added element of blood hitting the camera clutch. If 3D, like the one you can 
Performances are all incredible. Everyone has the perfect balance of whatever personality trait needs to be pushed just a touch too far. While it does feel about 15 minutes too long, the kills keep coming and they’re entertaining as hell. Writers Lars Damoiseaux (who also directs) and Eveline Hagenbeek give us a ton to hold onto. Like many zombie films, it highlights ingenuity. But there is a lot more going on.
The scares are intensely scored and intriguingly edited. The script by Thomas Friedrich is weird from the beginning. The performances have this unnerving, larger than life essence to them. You can feel something is very off about everything and everyone. Overly excited, excessively nice and informative, to unusually angry for no apparent reason. Sleep is like a living, breathing panic attack. The cinematic dynamics are stunning. The plot feels a little like a twisted hereditary version of Nightmare on Elm Street. But then you have a bloodline double entendre thrown in. It’s quite complex but extremely entertaining. As someone who has had reoccurring dreams her entire life, Michael Venus ‘ direction of SLEEP disturbed me to no end. And if you’re anything like me, you will continue to question what is real long after the credits roll.
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