In 1983, financially struggling college student Samantha Hughes takes a strange babysitting job that coincides with a full lunar eclipse. She slowly realizes her clients harbor a terrifying secret, putting her life in mortal danger.
Two best friends see their trip of a lifetime take a dark turn when one of them is struck by a mysterious affliction. Now, in a foreign land, they race to uncover the source before it consumes him completely.
Nearly a year after a botched job, a hitman takes a new assignment with the promise of a big payoff for three killings. What starts off as an easy task soon unravels, sending the killer into the heart of darkness.
Director Justin Benson on the aerial drone photography: "We had a very meticulous shot list and had a well thought out approach to the photography of the movie and after all that was done, our first AC/steadycam operator, William Tanner Sampson, came to us and said 'Hey, I've got this new drone I just bought. Should I bring it for the production? Maybe we could use it.' We knew immediately how that would fit into our general approach to the photography of the movie. The photography should feel like an omniscient presence in the movie. It should feel very subjective, almost like a third, all-powerful character. So Will came out with the drone and, after almost getting arrested with it in a Moscow airport because they were thinking it was a piece of military equipment he was going to assault Russia with, we got to use it. Any day the crew was off, [co-director/cinematographer] Aaron Moorhead and I would continue to shoot. On Sundays in Italy, we'd continue shooting and that was when we'd do the drone photography with Will. Just grab as many shots as we could, experiment with it, see how it would work. And almost everything we shot with the drone made it into the edit. It's one of the talking points of the movie. It's pretty cool. It's one of those things where one day, because a lot of people have started using them and someday people are going to look at our movie and be like, 'Why did Moorhead and Benson use the fucking toy helicopter thing over and over and over again?'" See more »
What a great little film. Once you get to the third act and you have all of the details, you pretty much know how it's probably going to end, but it doesn't matter. The fantastical premise serves a backdrop for a really fantastic human story, one that is pretty much interested in dialogue over plot. I first saw Lou Taylor Pucci in Evil Dead and thought he was so great in it. He has such an effective naturalism that is present here throughout. A nice surprise of a film, even if not without its flaws. I definitely will try to recommend this to people and try to put the word out there, I feel like it could gain a really strong fanbase if it got seen more.
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