Arguing about style vs. (or often over) substance is one of the most drawn-out and continuously relevant discussions in the cinema social space. There really is no clear answer; some suggest that such a balance is simply ineffective and that the narrative must be prioritized to make for a proper experience. Others say that style can itself be substantive, able to drive a film as the main focus and carry it to its every desired arc and beat. In the case of Aberrance, style is certainly the main priority, and how you feel about the film may very well depend on your thoughts in that regard.
Regardless, though, the film looks incredible. On a purely technical level, it’s one of the most interesting horror films to release in a while; the camera is unbelievably agile, zipping in unison with even the slightest of movements. The feeling is akin to being there and watching it all go down; you follow a punch as it swings, shake with people as they run, and even turn in conversation as the subject does. Without a doubt, the film thrives on the stylistic side of things.
Beyond the camera, the lighting is sharp and colorful, working in tandem with a peachy color grade and oodles of special effects that are all utilized to a tee. The film’s visual palette is an entire aesthetic of its own, simply unreal. At only an hour and fifteen-ish minutes, too, the amount of memorable material it squeezes into that time is a remarkable achievement. However, the skimpy runtime causes problems for a narrative that is already full of them.
On the page, there is much less going on with Aberrance. The story is somewhat clear, and it’s obvious what the filmmakers are going for, but the full-on focus on the visuals does, in this case, detract from a story that relies very little on dialogue to move it forward. When it does, it doesn’t help that the dialogue is a little stilted, in spite of solid performances all around. With so little time, and even less of it being spent in conversation, what is actually said frequently feels forced, like a necessity to get out of the way. The plot is simple, following a husband and wife, as well as their friends and a particularly nosy neighbor, as they all essentially pick at one another until someone finally cracks. Without spoiling anything, it’s much more interesting in thought than execution.
The commitment to style must be respected, and in a way, it manages to provide substance here, but the story is sort of left stuck with one foot in the door. Either leaving it out or finding the time to fully include it too would work, yet we’re left in the unfortunate middle that just doesn’t quite do the trick.
Still, the film makes a special name for itself and is sure to stand out. Writer, director, and cinematographer Baatar Batsukh has proven to be a jack of all trades with this film alone and, much like it, has earned all eyes.
Watching Aberrance, you may struggle to really nail down a genre. There are obvious horror overtones, but it isn’t especially scary, nor does it often try to be. That isn’t necessarily a bad thing, not all films have to show that on their face; but in retrospect, the multi-genre mix does become a little discombobulating after a while. The whole experience is an attack on the senses, leaving little time to think and begging that you’ll just feel. For a first-time watch, that trade-off is worth it because, again, it just looks that good.
Aberrance is currently playing in select theaters courtesy of Freestyle Digital Media.
[youtube https://www.youtube.com/watch?v=49JSuQxZ8uU]
Watching Aberrance, you may struggle to really nail down a genre. There are obvious horror overtones, but it isn't especially scary, nor does it often try to be. That isn’t necessarily a bad thing, not all films have to show that on their face; but in retrospect, the multi-genre mix does become a little discombobulating after a while.
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