Looking through the plot details for the feature films being presented at the Soho Horror Film Festival weekend focused on LGBT film makers, the outline of this flick sounded so delightfully off-beat, that I decided to take a look at the can of holy spray.
View on the film:
Coming into feature film making, (after making the short Maggie's Problem (2015) ) from a professional performance artist background, (where she performed under the name " Glamhag") lead actress/writer/ director Molly Hewitt strikes a remarkable balance in closely working with cinematographer Greg Stephen Reigh,between deeply personal flourishing surrealism, and a mesmerising kitsch, (knowingly) trashy atmosphere.
Giving Trinity (played with an infectious enthusiasm by Hewitt) superpowers with a blast of magic aerosol , Hewitt & Reigh fly Trinity between the living and the dead,with meticulous designed colour coding of chocolate box wrapping colours shimmering on the screen like jewels, whisked up in ultra-stylised superimpositions and twirling panning shots, circling the internal pressure Trinity is under from being unable to turn the tap off from hearing the dead speak.
Celebrating B D S M as a method of personal freedom, Hewitt frames with a precision religious iconography towering above,as down below in a day-glo pink haze, Trinity and her friends/partners free themselves from the forced conformity,and entering into whip-pan surrealism.
Cleverly using Trinity's ability to hear the voices of the dead as the Horror spine where fear of the unknown and being haunted by the past, the screenplay by Molly Hewitt brilliantly weaves Comedy from the hilarious hyper-active state Trinity enters from the aerosol, with a more serious eye on bellowing demands from religion and capitalism for conformity from holy Trinity.
View on the film:
Coming into feature film making, (after making the short Maggie's Problem (2015) ) from a professional performance artist background, (where she performed under the name " Glamhag") lead actress/writer/ director Molly Hewitt strikes a remarkable balance in closely working with cinematographer Greg Stephen Reigh,between deeply personal flourishing surrealism, and a mesmerising kitsch, (knowingly) trashy atmosphere.
Giving Trinity (played with an infectious enthusiasm by Hewitt) superpowers with a blast of magic aerosol , Hewitt & Reigh fly Trinity between the living and the dead,with meticulous designed colour coding of chocolate box wrapping colours shimmering on the screen like jewels, whisked up in ultra-stylised superimpositions and twirling panning shots, circling the internal pressure Trinity is under from being unable to turn the tap off from hearing the dead speak.
Celebrating B D S M as a method of personal freedom, Hewitt frames with a precision religious iconography towering above,as down below in a day-glo pink haze, Trinity and her friends/partners free themselves from the forced conformity,and entering into whip-pan surrealism.
Cleverly using Trinity's ability to hear the voices of the dead as the Horror spine where fear of the unknown and being haunted by the past, the screenplay by Molly Hewitt brilliantly weaves Comedy from the hilarious hyper-active state Trinity enters from the aerosol, with a more serious eye on bellowing demands from religion and capitalism for conformity from holy Trinity.
