Emerging filmmaker Tig Terera mines his own story of immigration from Harare in Zimbabwe to Melbourne in Australia with his single mum, searching for a better life. Gorgeous cinematography by Jesse Lane.
Writer/Director Parish Malfitano, Producer/Actor Richard James Allen, Producer Martin Thorne, and Actor Emily David discuss the making of the psychological thriller Bloodshot Heart, making its world premiere at the Revelation Perth International Film Festival Couched Edition.
Of all the multifarious horrors of the human condition, dementia is surely one of the most chilling. A disease that not only steals memory like a thief in the night, but dignity, hope and connection to family as well. Multiple films exist touching on the subject matter, but usually in the context of a drama or tragic romance. Aussie horror Relic, helmed by first time feature director Natalie Erika James, views the condition through a genre lens, and the result is poetic and, ironically enough, unforgettable.
Relic tells the tale of mother and daughter Kay (Emily Mortimer) and Sam (Bella Heathcote), who have left the big city of Melbourne to try and find their family matriarch, Edna (Robyn Nevin). When they arrive at Edna’s sprawling, messy home they find evidence of dementia but little else. Kay tries to piece together her mother’s movements, while dealing with her occasionally surly daughter and being plagued by strange, vivid nightmares. And when Edna finally does make it home? Things start to get weird.
Relic is very much of the Babadook/Ari Aster/Mike Flannagan school of horror, where family trauma and tragedy go hand-in-withered-hand with more familiar genre trappings. The notion of an older loved one losing their mind is deeply confronting, even without supernatural elements, and Relic cleverly toys with the audience’s perception. The first half hour plays a little prosaic, even dull, but when the story properly kicks in, the film becomes a grimy, slowburn nightmare that is both tense, uncomfortable and yet somehow oddly beautiful.
Three assured performances anchor Relic, with Heathcote, Mortimer and Nevin all providing some of their career-best work as three generations of women from the same family. Natalie Erika James’ direction is clever and confident, imbuing the film with a Japanese horror vibe which juxtaposes nicely with the initially mundane rural Australian setting. The final twenty minutes in particular, with its clever use of dimensional subversion and mould imagery, are unforgettable and feel fresh in a genre woefully bereft of original iconography. While Relic’s themes are never exactly subtle, they’re strongly realised and add texture to the proceedings, making the experience a pleasingly cerebral affair.
Relic is perhaps not the unrelenting spookshow some of the advertising material suggests it to be, and fans of more traditional meat and potatoes horror may want to look elsewhere. However, if you like your genre flicks with lashings of nuance and subtext and very little exposition or easy answers, you’re in for a treat. With strong performances, confident direction and a stunning third act, Natalie Erika James is a director to watch and Relic is an Australian horror movie not to be missed.