Review of Spring (2014) by Garry A — 10 Jul 2018

Continuing the Benson-Moorhead marathon, their second film, 'Spring' is best described as a science-fiction romance with body-horror undertones. After watching his parents die, on the day of his mother's funeral, protagonist Evan gets into an altercation with a man at a bar. With the police closing in, and with little reason to remain, he decides to relocate to Italy, to 'find himself', or at least to reset his mental state after recent stressful events. His plan is a success from the start - he manages to find a job, a place to stay, and even some fellow travellers to bum around the country with. Then he happens upon the flirtatious Louise in a bar and embarks upon a relationship with her, after which ever more nefarious events begin to unfold.

Having now seen all of Benson & Moorhead's theatrical efforts, they have a talent for taking very basic plot premises, and insulating them with a sense of unease. Very much in the style of David Lynch, they deliberately cast slightly off-kilter actors and fill their films with odd visual flourishes that creates this perpetual air of tension. Scenes that appear perfectly harmless, then career off in odd directions and it is this unpredictability of direction that makes them interesting filmmakers. They are not really doing anything new here, but their movies are uncomfortable to watch, which is an achievement given that they manage this without overtly shocking or gratuitous moments.

Technically, they will never be auteurs. Sure, their flicks are shot professionally, and while they look decent enough, you are never blown away by cinematography or editing. It is clear that this is not their primary focus though. They obviously strive to produce horror films, that while initially seeming superficial in structure, are operating on a more subconscious level, meaning the viewer is never settled while watching, is constantly questioning what they are seeing and what and when the next scare might be. The questions remain even after the credits have rolled, and even will have you thinking days later, which is the sign of a successful genre picture, and proof positive that these young filmmakers are making the best modern horror in cinema right now.