After ten years, Justin Besler has moved back with his father. But his father's house isn't as Justin remembered. It's been renovated to support three apartments, housing somewhat shady ...
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After ten years, Justin Besler has moved back with his father. But his father's house isn't as Justin remembered. It's been renovated to support three apartments, housing somewhat shady neighbors. So when the victim of a cult killing turns up on his property, Justin grows increasingly suspicious of his new housemates. That's when Rick, a questionable friend, talks Justin into using pinhole surveillance cameras on the apartment residents. But the deeper Justin and his friends dig, the more they put their own lives in danger. Written by
Rick Varlin <firstname.lastname@example.org>
The cult featured in the film, the Black Circle, was based on an actual group. In 1984, in Northport, Long Island, a few High School dropouts formed a cult named the Knights of the Black Circle. Two of its members, who were both heavily involved in drugs, brutally murdered one of their friends when he refused to profess allegiance to Satan. Their story became the basis of the book, "Say You Love Satan". Incidentally, the exteriors of the Besler house were shot in Northport, only one block away from the crime scene itself. See more »
Clever, Compelling, and Highly Impressive film debut
In Under Surveillance, Dave Campfield, in his first feature film, typifies the triple threat of writer, director, and actor (might we add, co-producer!). On a budget of $30,000, he transforms digital video into a slick, cinematic tour-de-force that rivals, if not surpasses, a 35mm concoction. He utilizes the camera's possibilities as a character in the cast, moving deftly and subliminally into and out of the mindset of mystery and psychological intrigue. He employs a writer's precision in pacing his screenplay with appropriate calibers of suspense and revelation, layering it with rich characterizations and subtext, brought to life by a compelling and well-assembled cast. Director of Photography Andrew Seltz maximizes the technical potential of digital video with lush and ominous color landscapes punctuated by Pixelvision-like black and white points of view of the surveillance cameras, offering us a peephole into the private lives of this repertory of players. Composer Evan Evans lends a haunting and enthralling score, reminiscent of early Bernard Herrmann, and contributes significantly to the overall tone of the piece. Under Surveillance is bound to elicit attention in the independent film arena; and as long as there are fine films to be seen and fine director/writers (such as Dave Campfield) to make them, it should secure a memorable place in that canon and beyond.
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