VOD of the Dead - BRIGHTWOOD (2022)

Surrealism and horror are common bedfellows. While the nature of horror content is by definition surreal, the horror genre is one of the most prominent to use the term both in the aesthetic as well as narrative sense. Terms like “Dream/Nightmare Logic” or “bonkers” are just a few of the ways horror fans like to describe films that showcase an altered state of reality that ranges from mildly jarring to full-on sensory overloads. Filmmakers such as DAVID CRONENBERG, DARIO ARGENTO, ARI ASTER, and more all find solace in taking audiences on journeys that force us to question what is real as well as what isn’t. Oftentimes, we are left to figure that out on our own as many filmmakers opt to go for the ambiguous ending, even when it hasn’t been earned. More recently, films like THE OUTWATERS (see our review here) and SKINAMARINK have made waves due to their non-linear and surreal structures. While they are not the first to do this, they are certainly part of a rising trend that we are seeing in more and more horror films these days. This brings us to BRIGHTWOOD, a 2022 horror film produced, written, and directed by DANE ELCAR that has been making the rounds at genre festivals such as HORRORHOUND, SALEM FILM FEST, and PANIC FEST. Is BRIGHTWOOD helping to shepherd in a new wave of surrealistic horror, or is this one too out of touch with any reality to connect with?

WHAT’S IT ABOUT?

Jen and Dan’s marriage is hanging by a thread. So when they find themselves trapped in a time warp around their local pond, they’re forced to face the monsters both within and without.

HOW IS IT?

Multiverses are quickly becoming the thematic trend across all aspects of cinema. Hell, EVERYTHING EVERYWHERE ALL AT ONCE just swept the Oscars, and SAM RAIMI returned to Marvel with his own flavor of multiverse madness. This is just scratching the surface of how media at large has adopted the idea that we may exist in one of many variations of time that have slightly skewed versions of the reality we know. This is a core element of BRIGHTWOOD, and is proof that you don’t need Disney dollars to architect an interesting, albeit prolonged tale about the dangers of multiple versions of time and reality.

BRIGHTWOOD is a small film in many ways. First, it is an intimate story of a couple that is clearly on the outs and are the only characters we follow for the entire film. This decision to stick to these two is an economical choice that enables the viewer to build a deeper relationship with the characters since they are the only ones you really ever get to meet. This works to the film's advantage, as the couple, Jen and Dan are struggling with keeping their relationship together while simultaneously trying to figure out what is going on and how to exit this infinite time loop they seemed to have found themselves in. Given the film is focused entirely on these two, it’s a testament to the performances by DANA BERGER and MAX WOERTENDYKE that BRIGHTWOOD is able to hold your attention through the majority of the runtime. Their depictions are earnest and believable, even if neither of them are particularly likable people. What makes them interesting is just how pedestrian they are in relation to typical horror characters. Neither of them happens to bring any special talents or skills that could aid them with this quagmire, and so their reactions to this totally absurd situation are genuine. The film's biggest issue, however, is that the slow burn gets in the way of delivering the right kind of tension to keep you from figuring out what is going on before the reveal happens.

A common issue with slow-burn films is that they put all their narrative eggs in the last 10 minutes basket. This can be great if you have a real banger of a finale, but can also feel like a bit of a letdown when you don’t. In the case of BRIGHTWOOD, folks who have seen similar films before such as TIMECRIMES or anything from BENSON & MOOREHEAD will likely know where this is going long before the film gets there. For those that don’t see the “twist” coming, there still might be a sense of “that’s it” that follows given that the film does little to offer any explanation or reasoning as to why or how this is all happening. Don’t get me wrong though, exposition isn’t a requirement in this case, it just would’ve helped to mitigate some of the slower moments that don’t add up to much at all. For example, the relationship problems Dan and Jen have. They are critical to understanding their characters at the start, but get almost entirely forgotten about halfway through the film. Not to mention the lack of context around why, if at all, this location is special and prone to this kind of time-fuckery. While it may not be germane to the story to have this much detail, at the very least this viewer was expecting some kind of inkling of understanding aside from what we ultimately get. While this in no way makes the film “bad”, the lack of decent payoff ultimately leaves the film feeling like it would’ve been served better as a short rather than a feature-length film.

LAST RITES

BRIGHTWOOD is a surreal multiverse-style horror film that offers solid technical filmmaking abilities and great performances from the two leads. While the momentum building to the finale feels a bit underwhelming in spite of the possibilities the narrative presents, BRIGHTWOOD showcases how smaller, more intimate horror films can leverage big ideas in economical ways.

THE GORY DETAILS

Directed By

DANE ELCAR

Written By

DANE ELCAR

Starring

DANA BERGER

MAX WOERTENDYKE

TRAILER

Where can you watch it?

BRIGHTWOOD is currently making rounds at various film festivals and awaiting distribution!

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