Like all our lives, Florence's (Aurora Grabill) was shaken up by the Covid-19 pandemic with the unprecedented lockdowns and social distancing that came with it quite a bit, so when places open up again, she grabs pretty much the first bartending gig she can get. Meanwhile, artist Paul (Demetri Kasperson) is looking for his roommate who has gone missing and took their rent money with him - of all things he was a priest, Father Robert (Dynamo Marz). And there's also a masked killer out there who kidnaps pedophiles and tortures them to death, and the trail to him leads from Father Robert and his associate Father Timothy (Damien Gauted) to Florence's mother (Sissy O'Hara) and in a roundabout way back to her ...

Now while firmly rooted in horror and using many of its tropes, this is certainly anything but a run-of-the-mill genre outing, as for one it doesn't follow the rules of traditional storytelling and instead takes pride in confusing the audience and asks more questions than it answers, and also uses associative narratives and nightmare logic to bring its point across. But at the same time that's not to say this is an incongruous mess as the whole thing's so cleverly strung together it ultimately does make sense, and the ensemble sure enough manages to keep things grounded with solid, relatable performances - and the end-result is basically a fascinating puzzle, and almost certainly one that will disturb you some.

review © by Mike Haberfelner

 

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