Directed by Kd Amond.
With Sarah Zanotti.
A self-help author retreats to an escape hut to finish her latest book, only to be confronted with demons from her past.
faye is at the same time an impressive piece of indie filmmaking and a frustrating one; impressive because it’s basically a one-actor performance that describes the breakdown of a woman who has endured a series of horrific events and is going through a whole bunch of emotions while trying to get out the other side. This idea is presented through the filter of a horror film in which the titular Faye (Sarah Zanotti, who also co-wrote the screenplay with director Kd Amond), a self-help writer, is alone in a writing retreat and battling her demons – in this case portrayed through a demonic representation of herself – as she processes her grief and guilt over a previous event.
However, faye is also frustrating in the fact that it’s something not easily reverted to, as its horror film leanings are very sparse and misleading, even to the point where Faye himself asks if there’s a supernatural presence, where she is (and is mocked for asking). The only haunted presence in the cabin is Faye herself, and her process of dealing with grief and loss is scariest of all.
When Faye first goes into the dressing room, we’re not exactly sure what her deal is; she has vivid facial scars and she’s talking to someone we can’t see, but we learn that she’s a self-help guru and her publisher – a disembodied voice on the phone we never see – is demanding some progress on Faye’s latest book, Offering Faye a week of peace and quiet at the cabin to write something. thoughts of I spit on your grave comes to mind when the lonely author arrives and there’s a construction site next door, which in any other horror film would inevitably mean unwanted male attention, but Faye’s only other interactions are over her phone, either talking to people or filming her latest movie website- updates.
It becomes clear very quickly that Faye is struggling as she gets drunk and sees a presence in the dressing room waking up the next morning with bruises on her stomach. She also has flashbacks to a car accident and the details of her past begin to make sense when it is revealed that her husband was killed in the accident and Faye blames herself. Thenceforth faye becomes a relentless barrage of monologues and streams of consciousness expressed by sadness, depression and alcohol until the visions become too much and Faye acts against her inner demons, hoping for a resolution one way or another.
Sectioned and peppered with Faye’s diary-like narration, spoken while sitting under a spotlight like a stand-up comedian, faye will undoubtedly be a calling card for both its star and its director, and rightly so, given that this is a very nuanced and impeccably executed study of grief, the kind of film that film students glean any amount of analysis or technique from and from which he could be inspired . It also has the potential to make a great play, using different actors to add alternate moods or voices, or adjusting Faye’s background to reflect current issues or social concerns. the possibilities are numerous.
With the honor of being the first US-produced feature-length film to feature a single-actress performance, faye certainly speaks the language of horror movies and will appeal to a genre audience, but if you’re expecting monsters and madness you might be disappointed, although that’s exactly what you get, albeit in a less literal way.
Flickering Myth Rating – Movie: ★★★★ / Movie: ★★★