A woman is found murdered, and several hundred miles across country, deep into snowy rural USA, her daughter's car is found abandoned, and she's found frozen to death not far from the car, her body covered in weird brandings. Detectives Carrie (Tamara Austin) and Drew (Nate Boyer) investigate, but they rarely see eye to eye, as they've once been lovers and have a daughter together, Ava (Laila Lockhart Kraner), but their breakup wasn't exactly smooth. That said, it doesn't take them long to find a tailor-made suspect, local car mechanic Will Stark (Steven Grayhm), the deceased's best friend when they were children, and later her penpal over the years, who denied even knowing her upon initial questioning. Also, locals consider him a bit of a weirdo, and schizophrenia apparently runs in his family, last witnessed with his father who eventually committed suicide. Also, when he was a kid, his mother and sister were murdered before his very eyes. But all this isn't even circumstantial evidence. But there's certainly something wrong with Will, as the audience soon finds out, as he has visions of his deceased sister Grace (Alexa Luippold), finds bitemarks on his body with no idea how they go there, and might experience schizophrenic episodes himself if not worse. Carrie is so convinced that he has something to do with her case that she eventually breaks into his home - but what she finds only leads her to a shaman, Solomon (Rudy Reyes), who tells her about the local natives, the Sinchanee, his tribe and also the tribe of Will, and even Carrie has Sinchanee blood in her. Now the Sinchanee were resistant to the settler's diseases back in the olden days, so the settlers used the Sinchanee death spirit and turned it against them, and that might be at the center of the whole case. Apparently now the death spirit zeroes in on Will - but what's worse, it might also have designs on Carrie and Drew's daughter Ava ...

A very interesting thriller that starts out as your usual serialkiller story but gradually shifts into supernatural horror, but in a way that it makes sense, narratively. And a deliberately slow pace only helps the film's plot to stay on course, as does a direction that relies on subtlety rather than spectacle, while a fine ensemble keep things grounded. And the snowy Massachusetts backdrops are nicely filmed and give the film its brooding atmosphere to make this into a very cool piece of genre cinema.

review © by Mike Haberfelner

 

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