Directed By – Will’ Terran
Starring – Stewart O’Reilly, Nicola Posener, Raquel Cassidy
Run Time – 81 minutes
Adam hasn’t left his flat in six months for fear of being attacked. Creating conversational videos of his favourite movie star Starlet Maddinson has kept him just about the right side of sane over that time. Just about. When a straightforward encounter causes Adam’s worst fears to come true, a malevolent psycho begins a campaign of intimidation and intrusion into Adam’s home. As the world shrinks around him and the company of Starlet Maddinson’s image turns on him, reality blurs with nightmare to tear Adam’s private little world apart. – Black Barn Productions
The Twisted Death of a Lonely Madman is a gripping study of agoraphobia & the related issues of anxiety and depression that emerge from Adam’s self-imposed isolation. It was clearly produced on a very tight budget, but the vast majority of this film manages to rise above the constraints this often gives to a film. Anyone who has sat through any number of feature-length no-budget movies at film festivals or the like will know the required mentality where every technical flaw or moment of poor acting can be overlooked, that you can gleam some positives from the sheer fact that they managed to get the film made at all. Twisted Death… does not require this at all. It stands on its own through very finely tuned pacing and a whole host of brilliant ideas.
Taking place entirely in the confines of Adam’s flat, who is also the only main character and whose bored, deliberately monotone voice provides a narration, this film defies tried & tested ways of keeping an audience entertained for a feature length, but manages it better than many big-budget films with far wider scopes. There isn’t a single scene that feels pointless, or padded out for length; we’re given a half-heartedly optimistic insight into the world Adam has created for himself in his tiny flat, before slowly we get glimpses of the darker side to his solitude and illness. Without stopping him from being relatable, his own paranoia seeping through to the audience as tension is built out of the smallest things. As reality becomes harder to define in Adam’s world, key scenes offer some incredible imagery –one particular scene featuring nothing but his computer was jaw-droppingly intense and I genuinely couldn’t take my eyes off the screen.
Technically this film is impressive too; black and white is often used as an “instant art” attachment by inexperienced film-makers, but here it was clearly considered from the beginning of production, with fantastic use of light and shadows reminding us that even in modern times where Hollywood relies on super-saturated visuals, black and white movies can still be beautiful. Except for in just one scene, the subtle effects are well pulled off, and are very effective in creating a sense of paranoia & providing a handful of genuinely unsettling images. Stewart O’Reilly (as Adam) is the only actor given very much to work with and does a very good job with it, but Nicola Posener (playing Starlet Maddinson) also shows great promise in her brief scenes throughout the film.
Given the title of this film, along with the tagline “In The End He Will Die” that clears up any ambiguity there may have been, and the promotional website hewilldie.com, there are no prizes for guessing how this film ends. Spoiling the ending of a film in its promotion is of course an odd deliberate choice, often one consigned to bumbling marketing departments, but here it works to give the movie a certain morbid inevitability, and forces us to ask for the duration of the movie; “how?”. Clues are scattered throughout the movie, but still the final revelations are quite unexpected and shocking, ending what was already an incredibly engrossing, suspenseful film that deals intelligently with the very real issues of mental health alongside the more fantastical nightmarish visuals, on an unpredictable high note.
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