A brief yet tense phone conversation between politically connected powerhouse Tom Buchanan (Mark Grant) and a desperate lower class thug named Judd (Eric Scheiner) over Buchanan's bisexual ... See full summary »
A brief yet tense phone conversation between politically connected powerhouse Tom Buchanan (Mark Grant) and a desperate lower class thug named Judd (Eric Scheiner) over Buchanan's bisexual wife Daisy (Jennifer McCartney), her working class lover Lolita (Christy Scott-Cashman) and Bartlesby (Angel Connell), the enigmatic head of Buchanan's personal security force, results in an interlocking series of actions which culminates in a brutal murder. Thereafter the Buchanans in a subsequent phone conversation grapple with the fallout from the crime, its alleged resolution, and the effect the incident has had on their open marriage. Written by
Although Mark Grant and Christy Scott Cashman appear in the film for the first time since they worked together in "Serial Intentions" (2001), the performers never shared a scene together nor did they interact with each other during production. See more »
A rolling line of dark video distortion which appears against the white noise ("snow") seen on the television screen shifts position multiple times while Lolita (Christy Scott Cashman) is strangled to death. See more »
Beneath the Veneer of a Murder is the latest film from director Angel Connell and is more experimental in nature than his last two films "Stocking Stuffers" and "Shes So Cold". It opens with a phone conversation over the beginning credits and poem from an unknown author which implies that all may not be as it seems.
Then the scene itself comes on. Set in the basement of a house and starring Eric Scheiner and Christy Scott Cashman the scene involves the murder mentioned in the title and is quite riveting. This scene is very well done in every way and features very convincing performances by both actors. The lighting and camera-work is also very well done and includes a couple of complex dolly shots that work seamlessly in the scene, adding to it without calling attention to the camera. Connell really knows how to make camera moves work within his story. The editing is also seamless. Everything goes together so well you don't even notice the editing, all as it should be.
We get another phone conversation over the closing credits and find out that everything is quite different than what we believed up to this point. It is quite a surprise. My only complaint about this film is that the story told in the phone conversations is probably more complex than it need to be. Also it is difficult to read the poem at the beginning and concentrate on what is being said at the same time. Watching the film a few times will definitely pay dividends. All in all Angel Connell has directed another winner. I'm looking forward to seeing what he can do on a feature.
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