Besetment Holds Viewers Captive with Narrative
Besetment Film Details
Director: Brad Douglas
Writer: Brad Douglas
Release Date: June 6, September 5
Release Format: VOD, DVD release
MPAA Rating: N/A
Genre: Horror, Thriller
Running Time: 1h 16min
After struggling to find employment, Amanda takes a hotel position in a small town where she ends up fighting for her life.
Douglas proposes a compelling approach towards the narrative. Yet, further refinement was required for everything to be fleshed out. In particular, the roles and conflict needed improvement for the finished production. Besetment carries the potential to evolve into a fascinating Thriller that delves into Social derived evils.
The practical effects limit to two scenes. When introduced it heightened the display with impactful bloody detail. Yet, the prosthetic applications and blood splatter remained elementary. Graham Denman and Kyle Hnedak produce a composition suggestive of nostalgic horror television programs. Denman and Hnedak provided foreboding atmosphere and anxiety and this becomes the highlight of the film.
In Besetment every degree in composition falls short. After repeated viewings, it remained inconceivable finding a root of quality Horror entertainment in Douglas’ film.
The cinematography lacked emphasis thus producing unstable tension and presentation. A scene can have many takes using diverse techniques. Each shot will convey a unique message depending on how the director composes the frame. In Besetment audiences become constrained to the basics of filmmaking. This simple approach makes the film more excruciating than the deeds perpetrated against the protagonist.
Take for instance the opening minutes to Act I. The scene attempts to introduce the relationship between Amanda and her mother. Trivial items move in focus for no understandable purpose. A pet lizard serves as the primary visual. Why? Later, a long shot establishes the viewer to the environment. Again, why is this significant?
This atrocious opening scene proceeds with unnecessary close ups, horrid cuts, and sharp lighting. Everything presented does not concentrate on Amanda or her mother. Douglas fails to produce an adequate shot of actress Lindsae Klein reciting her words, an infraction to Klein’s performance. Placing a fixed camera behind Klein cement this offense. How can audiences determine the passionate content released by the actress? Also, let’s not discuss the continuity issue with the handbag placed on the counter.
Scene after scene the film continues with a lax presentation, defining each would expand this analysis across pages in the hundreds. Cinematographer Chuck Greenwood serves as a co-conspirator to the infractions carried out on this product. Being a small budget production does not define presenting low-quality results.
The performances comprised of conventional B-movie status. Dialogue was produced and not conveyed. The distinction between these two definitions is indisputable. Conveying dialogue encourages a reaction by the receiver. This interactive flux communicates emotion and convincing on-screen appeal. Presenting lines only should appear during the audition phase. The latter is what viewers will experience in Besetment. This absence of engagement undermines an already crumbling narrative.
The plot despite retaining an effective conveyance did not provide it. Humor and silliness dilute the gravity of the film. Yet, here is the puzzling detail, Besetment is not a comic drama. For illustration, in the midpoint in Act II a now captive Amanda gets hit on the head with a frying pan to sedate her hysteria. Another example is in Act III, a catatonic Amanda gets lured to perform a deed against her will. Yet, bystanders do nothing to obstruct said action from proceeding. In comedy, this mishmash is tolerable yet interpreting it in Thrillers or Horror doesn’t work.
Besetment grasps none of the notions associated with Horror or Thriller. The narrative is atrocious with its absence of character evolution and conflict. The situations that play on screen lean further towards comedy and the sphere of impossibility.
While films extend imagination there needs to be a substance of reaction, interaction, and execution. There exist no supernatural influences in Besetment. Douglas characterizes humans as the insidious alienating force. Thus a bridge between figurative imagination and reality is significant.
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