The Onus of Swindon’s Filmmakers

I’ve been invited to watch some horror! After the success of their debut film, Follow the Crows, Swindon filmmakers Alex Secker and Marc Starr have been busy with Onus; I know now what’s behind my sofa…..

Finding it hard to accept it’s been the best part of four years since I received my first “real” journalistic assignment for local news site Index:Wiltshire.

The editor, Craig couldn’t make the press screening for Swindon-made film, Follow the Crows, so with no experience I bumbled my way in with little expectations to find a birthday party-fashioned welcoming to view a compelling dystopian thriller.

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Comparing the team’s new film, Onus, with the latter is inevitable, though through Follow The Crows’ simplicity, this is visually better and more engaging. I’m glad to have been invited to review it and I’m free to assume this time, not just it’s quality, but eerie and divergent conception.

Writer and director, Alex Secker doesn’t settle with convention. For this it receives full marks. Where it differs is in setting and angle. If Follow the Crows goes for a survivalist circumstance within an imaginary post-apocalyptic realm, Onus follows the template of traditional Hammer House horrors of yore, in a sense. If you crave modern Hollywood’s hurtling imagery and non-stop action, this is not for you. Onus creeps up on you, increasingly setting a troubling notion in your psyche. It’s suspense reason for me not to reveal spoilers.

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It certainly achieves what I believe it set out to do; my fingernails are somewhat shorter. This is an unnerving masterpiece which abounds by twisting the cliché of classic horror. Starter for ten, the music, by Graeme Osbourne, assures you an uneasy sitting; I’m shivering before any visual. Yet when it does, despite unsettling sensations, we’re shown a female couple on a car journey through our acceptable local landscape. The driver, haughty Izzy (Erin Leighton) poses somewhat relaxed, taking her subordinate and shy dungaree-wearing girlfriend, Anna, (Daniella Faircloth) to meet her upper-class family. You may know yourself, meeting a lover’s parents can be unnerving at the best of times, with a class difference, doubly so. Izzy asserts her superiority, bantering the nervous Anna by joking her family are “not vampires;” a notion she drives a little too much.

“Onus creeps up on you, increasingly setting a troubling notion in your psyche.”

In true horror fashion the setting is solely the house, the protagonist’s suspicion they’re being deceived builds, and for such, Onus borrows extensively from the chestnut. Secker though is keen to raise social indifferences between classes, the notion of wealth meaning superiority; this only increases the gut-wrenching feeling Anna is out of her depth.

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Suspense drives you to want something to unveil, but it plods on its tension-building ambience for over the hour. Anna’s snowballing anxiety is portrayed perfectly by Daniella with some haunting expressions of despair. You? You’re looking for an escape clause, a knight in shining armour. But if the plot has strands of Little Red Riding Hood, there appears no character who will be Anna’s woodcutter. Izzy’s obnoxiously snobby brother (Alex Pitcher) is clearly in on it, pompously he sniggers at her misfortune; both sibling rivalry and homophonic attitudes abound in his arrogance. The Victorian mother (Karen Payne) is as stiff and a brush, and the ill father (Tony Manders) is shadily the reasoning for her presence at the house. This only leaves the clue-providing maid, (Shaniece Williams) who, treated as a slave of yore, is doubtfully going to heroically strive in. Here within lies the twist, dispelling the cliché horror ending.

So, what begins as a classic horror, ends unexpectedly; like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.

“Like a short story it provides the viewer scope to continue the tale using their own imagination, and for that, Onus rocks.”

Again, the production of Marcus Starr, the writing, directing and editing of Alex Secker and the acting is sublime. The temperament is undeniably spooky, the setting is dripping with realism, especially being based in the South West. The characters are vivid, Anna is somewhat free-willed rather than helpless, just trapped. The family are genuinely as snooty as you’d expect, and unnervingly mysterious; I feel driven to Facebook message my worries to Daniella, pleading she takes more time in choosing a partner next time, that’s how realistic it is!

And what is more, I think it’s easy to pass my review as flattery, that no locally-based film crew could hope to attain that of the mainstream movie industry, but Follow the Crows is award-winning, Onus deserves to follow suit. I don’t usually do star ratings, as I feel it’s restrictive, but if I did it’d get a four out five at least! You. Need. To. See. It.

The movie has a distributor, High Octane Pictures from LA. “We’re finalising the paperwork,” producer Marc informs me, “they’ll distribute direct in the US and Canada, then sell to the rest of the world.” So, it should be on DVD and blue ray in a couple of months. I’ll keep you in the loop.

“You. Need. To. See. It.”

onus poster


© 2017-2020 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.

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The Turn of the Screw at The Wharf

The forthcoming new season of productions at our Wharf Theatre, Devizes, kicks off with a haunting Henry James adaption they claim is not for the nervy.  The Turn of the Screw, a 1898 horror novella by Henry James, first published as a serial in Collier’s Weekly magazine, has been adapted for stage by Ken Whitmore and is directed by Lewis Cowen.

 

Running from Monday 23rd September to Saturday 28th at 7.30pm, The Turn of the Screw is set in a sprawling manor house in Bly, in the first half of the 19th Century. Henry James’ classic is one of the most famous ghost stories in the English language, and is a foundation for academics pledged to New Criticism. With contradictory understandings, critics attempt to regulate the precise nature of the evil implied. Others claim its brilliance grades its skill in creating an intimate sense of misperception and insecurity.

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By Collier’s Weekly, illustration by Eric Pape – Beinecke Rare Book & Manuscript Library, Yale University, Public Domain

Miss Grey is hired as governess to two orphaned siblings, Miles, 10 and 8 year old Flora. However, she soon discovers a dark secret and becomes embroiled in a supernatural struggle with the ghosts of the former valet and governess. She is forced to fight for the children despite fearing for her life and questioning her sanity.

Tickets (£12/under 16s £10) can be purchased from Ticketsource at: https://www.ticketsource.co.uk/the-wharf-theatre/events or at the Devizes Community Hub and Library on Sheep Street, Monday to Friday, 9am-5pm or by ringing 03336 663 366. To find out what else is on at the Wharf pick up a new Autumn/Winter brochure which is available from the Community Hub and Library and many other outlets around Devizes.


© 2017-2019 Devizine (Darren Worrow)
Please seek permission from the Devizine site and any individual author, artist or photographer before using any content on this website. Unauthorised usage of any images or text is forbidden.


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