Fugue
by Warren Curry
6/14/10
“Fugue” is a shining example of low-budget filmmaking done right. Director Barbara Stepansky doesn’t try to make a movie bigger than what her modest production values can support, and instead uses the ostensible limitations to her advantage. A horror/thriller that’s legitimately unsettling in spots (and delivers an unexpected bit of gore near its conclusion), Stepansky’s feature debut is compelling from the opening credits to literally its final frame.
At the center of the story is Charlotte (Abigail Mittel), a young woman who has just moved into a new home with her older, college professor boyfriend, Howard (Richard Gunn). It turns out that the couple started dating when Charlotte was one of Howard’s students, and if that’s not bad enough, the man was married at the time. Charlotte is also recovering from an, at first, unspecified accident, which may or may not be a factor in the sudden mysterious visions she has of a faceless woman who invades her home.
Adding another twist to Charlotte’s life is the news that she’s pregnant. This good fortune, however, does nothing to minimize the terror she begins facing on a daily basis. Howard finds no evidence to suggest that what Charlotte’s experiencing is anything other than a product of her imagination. A consultation with a spiritual advisor, whom she hires to rid her home of the mysterious female ghost, pays no dividends.
It’s at this point that Charlotte starts uncovering information from her recent past — facts unknown to her because of the aforementioned accident — that helps shed light on the strange events. I’ll refrain from going into detail, but rest assured that each new plot twist heightens the film’s intensity. Screenwriter Matt Harry has crafted a taut narrative that builds steadily and is superbly paced. The biggest criticism I have of his script is the bland dialogue, which mainly serves as a vehicle for exposition and doesn’t give the characters a chance to develop unique voices. For instance, in one scene, Howard derisively remarks that Charlotte’s sister, Sadie (Julie Mond), is obsessed with New Age philosophies, but Sadie offers little to substantiate this claim in her brief screen time.
Stepansky utilizes her cast well, keeping the actors within the confines of their characters. As Charlotte, Abigail Mittel exercises restraint in a role that easily could have elicited a histrionic performance from the actress. Her decision to slightly underplay the role makes it easy for the viewer to generate sympathy for Charlotte. The director also does a great job creating an environment that feels isolated and empty. The fact that there are so few characters in the movie (including extras) helps put you squarely in Charlotte’s unsteady mind as she attempts to unravel the mystery of her own life while constantly in danger.
I’m generally not one to defend gore, but the brutality that occurs in the film’s climax feels justified. Though some indie horror movies exist solely as an exercise in extreme graphic violence, the bloodshed here brings the film to a dark place that strengthens its impact. Some may feel it’s exploitative — and these scenes certainly aren’t for the squeamish — but the ugliness gives this film needed extra weight.
Built on a solid foundation (i.e. a good script), “Fugue” is an all around well-executed movie. Less is often more when it comes to horror flicks, and this simple film — read that as a compliment — quite effectively proves that point.
contact: wcurry718@yahoo.com
Fugue (USA/2010)
Director: Barbara Stepansky
Cast: Abigail Mittel, Richard Gunn, Erika Bruun-Andersen
Rated NR, 85 minutes
(Screened at the 2010 Dances With Films Festival)