It does an effective job of building up that moody atmosphere that runs through most of the film.
Not to mention the musical score, as many of the film’s tenser scenes are backed by a disconcerting, low hum. Though even the day scenes can feel as creepy, cold, and remote as its locations through its editing. So, one does not get the feeling there are missing anything out. Plus, the shot composition helps keep the story flowing, make each event legible, and build up tension bit by bit. It sometimes makes things a little hard to see, but its on-site light sources (streetlights, headlights, etc) make the scenes feel more natural than rigged-up lights. The use of lighting- or lack thereof- is especially effective, be it in the film’s tarot scene, or for when Kurt realizes what he has done. Though is the film itself rich in quality, or should it have been left fallow for a while? It certainly leaves a good first impression, as the direction is quite solid. One can probably tell there are plenty of digging metaphors going on. This is only the beginning of Kurt’s troubles. But while he can hide her remains, her spirit starts burrowing into his head, while Ivy tries to dig up the truth behind what happened to her daughter. To hide what he has done, Kurt buries her body deep underground. Echo gets killed when Kurt drives drunk home. Things take a turn when a recluse called Kurt (Adams) moves down the road to restore an old farmhouse. Ivy, a former psychic, makes a living giving dodgy tarot card readings, while Echo hunts and listens to old-timey music. Ivy (Poser) and Echo (Zelda Adams: The Hatred 2018, Noble 2018) are a mother and daughter living in the Catskills.
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