Small wonder then, that since its release, I have been dying to see Florence's low-budget debut film, "The House of Him", a horror film with a significant difference. (I suppose I should say this blog "contains spoilers" but that should not stop you reading.) With a cast of three "Burnistoun" faces, you know the standard of acting will be high. "The House of Him" delivers tension with a slow, growing terror as you begin to realise it is no ordinary horror. From the opening scene I was gripped - I stared at the screen as poor (but wonderful) Kirsty Strain slid to the floor. Louise Stewart surpassed herself as Anna, convincingly taking us with her through different emotions, as she confronted a nightmare situation. Richard Rankin's "Him" was captivating. We saw the real killer appear from behind the mask, his deceptively "normal", boyish good looks at odds with the image of psychotic, skull-masked murderer. The appearance of everyday life - the striped jumper was perfect - jarred with the unsettling violence.
It is no ordinary slasher film, as this killer is no exceptional psycho. This killer is not one killer, but representative of many: those who are hidden in plain view, in ordinary houses everywhere. This is the reality of some people's lives. Anna represents all women who are at the hands of violent and abusive men and do not know how to escape. Florence exposes the real horror that some women have to face every day: the horror of living with domestic abuse and the threat of murder. The radio gives reports of a strange horror going on throughout the country, giving instructions for those involved, and it becomes clear that this is not just about characters in a film, but something bigger.
The use of the one setting, an everyday house (somehow made more normal knowing it is Florence's mother's house), is very effective. The small details - which I imagine were already there - heighten the terrible situation in their mundanity. The embossed wallpaper. The light shade. The dainty china cups from which Rankin's killer sips his tea. The chairlift that has never looked so eerie, gliding up the stairs.
Given the vast sums that are splashed on blockbuster movies these days, Florence certainly gets every penny out of his budget (less than £1000) and it is no poorer for it. In fact, it feels focused on the essentials. Florence Junior makes an impressive appearance - you just know that she could follow in her parents' talented footsteps. I cannot omit to mention the subtle and effective score, by Iain Cook and David Simpson. It raises the tension just at the right moments, and adds to the growing unease throughout the film.
It's certainly interesting to see a serious side to the Burnistoun team's repertoire and I am sure that there is more to come. I find it personally inspiring to see such creative people, who have the initiative to make their visions reality. It is also great to see how this can be used for good, not only focussing attention on an important issue, but actively supporting charities through the promotion of the film. Future projects from Bold Yin, Florence and Connell's production company with House of Him producer, Joanne Daly, are certainly worth looking out for.
Rent "The House of Him" from Vimeo now, for less than the price of a pint.
It is no ordinary slasher film, as this killer is no exceptional psycho. This killer is not one killer, but representative of many: those who are hidden in plain view, in ordinary houses everywhere. This is the reality of some people's lives. Anna represents all women who are at the hands of violent and abusive men and do not know how to escape. Florence exposes the real horror that some women have to face every day: the horror of living with domestic abuse and the threat of murder. The radio gives reports of a strange horror going on throughout the country, giving instructions for those involved, and it becomes clear that this is not just about characters in a film, but something bigger.
The use of the one setting, an everyday house (somehow made more normal knowing it is Florence's mother's house), is very effective. The small details - which I imagine were already there - heighten the terrible situation in their mundanity. The embossed wallpaper. The light shade. The dainty china cups from which Rankin's killer sips his tea. The chairlift that has never looked so eerie, gliding up the stairs.
Given the vast sums that are splashed on blockbuster movies these days, Florence certainly gets every penny out of his budget (less than £1000) and it is no poorer for it. In fact, it feels focused on the essentials. Florence Junior makes an impressive appearance - you just know that she could follow in her parents' talented footsteps. I cannot omit to mention the subtle and effective score, by Iain Cook and David Simpson. It raises the tension just at the right moments, and adds to the growing unease throughout the film.
It's certainly interesting to see a serious side to the Burnistoun team's repertoire and I am sure that there is more to come. I find it personally inspiring to see such creative people, who have the initiative to make their visions reality. It is also great to see how this can be used for good, not only focussing attention on an important issue, but actively supporting charities through the promotion of the film. Future projects from Bold Yin, Florence and Connell's production company with House of Him producer, Joanne Daly, are certainly worth looking out for.
Rent "The House of Him" from Vimeo now, for less than the price of a pint.
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