Fantastic Fest 2022: A Wounded Fawn — An Experimental Arthouse Slasher That Unleashes The Furies
A serial killer brings an unsuspecting new victim on a weekend getaway to add another body to his ever-growing count. She's buying into his faux charms, and he's eagerly lusting for blood. What could possibly go wrong?
Travis Stevens loves Evil Dead (I mean, who the hell doesn’t?!), and this is easy to see from his last three films. In Girl On The Third Floor, actor Phillip Jack Brooks (AKA CM Punk) recalls the charms of Evil Dead icon Bruce Campbell, and a car that looks eerily similar to Sam Raimi’s infamous Oldsmobile Delta 88 is prominently featured in Jakob’s Wife, but Stevens’ latest film, A Wounded Fawn, is the producer-turned-director’s most overt nod to the 80s classic. Not only is one of the central characters named Bruce, with actor Josh Ruben conjuring up some Bruce Campbell vibes with his denim button-up, but as the film slips more and more into zany delirium, it also becomes a cabin-in-the-woods horror about a man haunted by a strange supernatural force. Replace the deadites with the ghosts of a serial killer’s past victims, and we’re pretty much in Evil Dead territory, but while Stevens’ adoration for the film is apparent, A Wounded Fawn is anything but a retread of Raimi’s beloved film.
The film is essentially two films in one, twisting the slasher and cabin-in-the-woods subgenres into a wicked and wild arthouse horror that’s streaked with psychedelic grime. It follows a serial killer named Bruce who has an eye for fine art and beautiful women. He’s the kind of guy who sees something he likes and just takes it. Driven to impulse by visions of a red owl that urges him to kill, Bruce unleashes violence on his female victims, using an eccentric brass knuckle owl talon weapon to do the deed. After murdering a young bidder assistant in the aftermath of an auction, Bruce takes possession a pricey statue depicting the Furies, a trio of females that unleash their vengeance on men, before setting his sights on his next victim, Meredith (Sarah Lind), another young woman floating around the art world. She’s just escaped an abusive relationship and is ready to get back in the saddle again, but unbeknownst to her, she’s run straight into the arms of another monster. Even though the odds seem stacked against her, she won’t be going down without a fight.
Out of all Stevens’ films, A Wounded Fawn is without a doubt his most unhinged and ambitious. While he consistently works within set horror subgenres, he continues to subvert expectations and modernize conventions to bring audiences something fresh. He may wear his myriad influences unashamedly on his sleeve, but he also takes a lot of risks with his bold experimentations here, many of which pay off in rewarding ways. In addition to the Raimisms mentioned above, you’ll also find elements of Dario Argento, Kenneth Anger, and Yorgos Lanthimos in this arty giallo-tinged fever dream that’s affectionately soaked in mysticism and Greek mythology.
Following the trajectory of Stevens’ previous two features, Fawn focuses on the troubled relationships between men and women with a predominantly feminist leaning and a penchant for making men pay for their transgressions. Once again, locations play a pivotal part in the story, essentially becoming a character in their own right, and Stevens and his team have found another stunning beauty that’s bolstered by its sophisticated art design. The 16mm cinematography from Ksusha Genenfeld is absolutely lovely, and it gives the film a gorgeously gritty throwback look that heightens its giallo tendencies and makes the colors brilliantly pop. It really gives the film another dimension of personality, and we were enamored by every speck of dust and strand of hair that appeared in its gate.
The performances from Josh Ruben and Sarah Lind are equally incredible, but the score from first-time film composer VAAAL is the decadent cherry on top of Fawn’s wild, weird, and hallucinatory trip. A mix of lush electronics, eerie melody, noise, and furious strings, with spats of driving percussion, VAAAL’s score completes the vibe and does wonders for the film’s atmospherics. It’s without a doubt one of our favorite scores of the year, and it’s likely to appear on our end-of-the-year list.
The film is more of a strangely atmospheric vibe than a total win, but there’s so many aspects that are wonderfully weird and exciting to behold. It also boasts one helluva final shot (one of Stevens’ many sterling qualities), which rivals the uncomfortable hilarity of Ti West’s Pearl. Stevens keeps on furthering his directorial skills and continues to deliver nuanced takes to every genre he inhabits. We think A Wounded Fawn is his best offering to date, and we eagerly look forward to consuming his next strange brew.
Recommendation: If you’re a fan of the films of Kenneth Anger, Sam Raimi, or Dario Argento, or just looking for something new in the slasher subgenre, give A Wounded Fawn a watch! The film is now streaming on Shudder, so you can check it out there.
Murderous for more?! Check out the links below:
Fantastic Fest Q&A: A Wounded Fawn w/Travis Stevens, Josh Ruben, & Sarah Lind
Fantastic Fest 2022 articles
Fantastic Fest 2022 reviews
Fantastic Fest 2022 podcasts
What do you think? We want to know. Share your thoughts and feelings in the comments section below, and as always, remember to viddy well!