Over the last decade or so, the rise in public interest in documentaries has been swift. This is partly due to the accessibility for burgeoning filmmakers to make mainstream-ready content with consumer grade equipment and a decently compelling story. Mostly though, it would seem, the documentary boom can be most directly linked to either nostalgia – all of the walks down memory lane with your favorite bands, stores or public figures – or morbid curiosity (e.g. the ever-thriving true crime industry). Within the subset of true crime, we have the exploration of cults, a specific activity which even the more squeamish find themselves drawn to due to the need to know exactly how far the human mind can be pushed and corrupted. The act of deprogramming a former cult member feels downright triumphant, as you get to see an individual wrestle free from their mental imprisonment while freeing them up to share even more “juicy” stories for a ravenous public.
All of this is to say, Riley Stearns was really onto something when he created his feature debut Faults, which was received fairly well upon its debut at SXSW in 2014 before receiving an all-too-brief theatrical release in 2015 in a handful of theaters. The mad genius behind The Art of Self-Defense and this year’s Dual rightly get recognized for his unique blend of deadpan black humor and stylized execution which allows him to be one of the rare filmmakers whose work you could identify without a screen credit. So why is Faults not as widely embraced as his subsequent work? An unsettling story of a cult deprogrammer working to free a couple’s daughter from her ties to a mysterious group would seemingly be a hot commodity if released in the modern cultural landscape. Unfortunately, the creative was simply ahead of his time.
While Stearns has clearly evolved since his debut, his creative fingerprints are all over this confident initial outing. The dark humor is not as pervasive this first go-around, but rest assured you will find much to nervously laugh at in this one. This is never more true than the opening scene where we meet Ansel Roth (Leland Orser, Taken), a once-famous cult deprogrammer whose book would have set him up for life if he had not given up the rights in his separation. The cash-strapped man has taken to passing off expired hotel vouchers in order to score a free meal, and he has the nerves to withstand being called out on it. Ansel half-heartedly participates in speaking engagements to a smattering of disinterested individuals while trying to pay back the advance he owes to his increasingly impatient manager (Jon Gries, Napoleon Dynamite) and his velvet smooth collector (the incomparable Lance Reddick, John Wick).
Lacking the follow-through needed to end his life, Ansel agrees to help when approached by a pair of hysteric parents (veteran character actors Chris Ellis and Beth Grant) whose daughter has seemingly been lost to a cult. You are given some insight into his hesitation early on during the film, but Stearns deftly threads the narrative throughout the arc of the story only to be filled in more concretely when it is most impactful. Orser is simply terrific at showing how far Ansel has fallen from grace without making him into a caricature. Subtle character moments such as holding a $10 bill up to the light to gauge its authenticity says more about him than any monologue might. He is filled to the brim with dissatisfaction in himself and frustration with the world around him, but on some level you do root for him to have redemption.
For as good as he is on his own, it is nothing compared to the electricity on screen when Mary Elisabeth Winstead (Scott Pilgrim Vs. The World) enters the picture as Claire, the lost daughter being forced to consider returning to “normal” life. The balancing act that Winstead has to navigate with this particular character is fascinating as the narrative evolves and dynamics shift in exhilarating ways. To say too much about the latter half of the film would be a disservice to first time viewers, but what Stearns creates with his performers is mesmerizing. It is during this portion of the film that we see that Ansel might not be a complete fraud, but rather genuinely a victim of the hand that life has dealt him. His command of his space during his deprogramming puts you at ease, only for Claire to rob you of any such comfort with her formidable opposition.
While relatively reserved in scope, the film takes some bizarre twists and turns as it arrives at an ending that begs for a lively post-screening discussion. More so than his subsequent films, Stearns really leans into the disquieting facets of the story rather than underscoring it with dark comedy. Faults is a terrifically tense examination of human psychology and manipulation in more than one form. The 90-minute runtime proves to be the perfect sweet spot which allows all of the potential dynamics to be explored while never feeling as if the story has missed a beat in terms of momentum. It is an impressive debut by any measurement, and it is one that richly deserves the second life that this new release presumably will give it. Faults has been patiently waiting for the cultural landscape to catch up with it, and if there is any justice it will finally have its day to shine.
Video Quality
Faults debuts on Blu-Ray with a pretty stunning 1080p video presentation that fans should really appreciate. The high definition master is quite fetching, and the encode reveals very little in the way of compression artifacts or macroblocking. The image is clean with the natural color palette resolving well, even if the film largely takes place inside more nondescript interiors. The film employs nice splashes of bold colors within the lighting, costumes, and certain elements of the production design. The presentation provides a pleasing amount of depth on display, especially in the interior shots. The production design along with the fabrics of clothing provide crystal clear textural details. The black levels hold up quite well with not much in the way of crush or banding. Flesh tones are natural with a magnificent amount of detail present in close-ups. It is a real treat to have this one handled so well in high definition.
Audio Quality
This Blu-Ray provides a great DTS-HD 5.1 Master Audio track along with an optional Dolby Digital 2.0 stereo track. We opted for the robust, lossless DTS track which perfectly captures the sound design of this film. While the budget on this one might be modest, there does not appear to be any deficiencies when it comes to how the sound was captured. Dialogue is the driving force of the film, and it comes through perfectly clearly without being clipped by any competing sounds. The music in the film is well-balanced and maintains its fidelity as it establishes an uneasy mood throughout.
There is very little in the way of hard-hitting moments before the end, but the environmental sounds of the world engage the speakers in an effective way. The scuffle in the opening scene at the restaurant does not devolve into a sonic mess. When the characters are roaming from room to room, there are some intriguing ambient details that flesh out the setting. Certain sound effects such as some doors slamming or engine noises engage the low end of the track in a way that provides some nice texture to the proceedings. This release provides English SDH subtitles.
Special Features
- 2022 Audio Commentary: Writer/Director Riley Stearns, Director of Photography Michael Ragen, Editor Sarah Beth Shapiro provide a new spirited and informative commentary track in which they discuss various details from the production including how this film started a working relationship which has continued into subsequent films, shooting on a limited budget, performers that have appeared in other projects, why they chose to shoot in the aspect ratio they did and how it added to the claustrophobic tone, running into Justin Bieber on their soundstage, the benefits of static camera setups, the legacy of the film and more that makes for a great listen.
- 2015 Audio Commentary: Writer/Director Riley Stearns and actors Leland Orser and Mary Elisabeth Winstead provide a great archival commentary track which was recorded when Stearns and Winstead were married which comes through in their shorthand and familiarity. While there are technical details in this track, this one is packed with more tidbits about the mood and anecdotes from the set, the costume and production design, including the biography they used as a stand-in for the book in the film, the challenges on set and more. These two tracks complement each other really well.
- Introduction: There is a minute-and-a-half optional introduction from director Riley Stearns in which he reflects on the film and discusses his appreciation for being able to revisit the film with this new release.
- Deprogramming Faults – With Lola Blanc: A terrific 30-minute conversation between Lola Blanc, cult survivor turned filmmaker, and director Riley Stearns about the place of cults in this feature, the real-life inspirations Stearns embraced or pushed away to suit what he wanted to accomplish, the approach the protagonist takes within the deprogramming and how it aligns with the time period in which it is set, the public fascination with cults, the specific things that can sway a film believer away from cult thinking, and so much more.
- Reprogramming Faults – With Riley Stearns: An eight-minute conversation with Stearns in which he discusses his journey with the title of the film, how the film came to exist, writing the character of Claire for Mary Elizabeth Winstead, why this was the perfect first feature for him, revisiting the film and more.
- The Cub (Short Film): A five-minute 2013 short film from Stearns which landed him the opportunity to make Faults. In this short, two parents offer up their child to be raised by wolves, which brings with it mixed results.
- BTS Photo Gallery: A nearly six-minute collection of behind-the-scenes footage from the production of the film.
- Theatrical Trailer: The two-minute trailer is provided here.
- Booklet: A multi-page booklet featuring a transcribed discussion between director Alex Ross Perry (Her Smell) and director Riley Stearns in which they discuss the act of making a debut feature, how their experiences compare to past generations, the evolving landscape of indie filmmaking, the shelf life of movies and more. This is the type of candid discussion you imagine happening behind closed doors.
Final Thoughts
Faults is the type of impressive debut which sets you up to develop a passionate fanbase who will follow you without question for years to come. The basic premise is enough to pique our interest, but the execution by director Riley Stearns is what allows it to stand apart. The way in which he works with his two transfixing lead performers allows you to completely disappear into the reality of this world. If you are part of the unlucky masses who have overlooked this one until now, it is time to correct your grave error. Yellow Veil Pictures and Vinegar Syndrome have released a Blu-Ray featuring a stellar A/V presentation and a terrific assortment of special features. Hopefully this new release will provide a lengthy second life for this one. Highly Recommended
Faults is currently available to purchase on Standard Edition Blu-Ray or with a Limited Edition Slipcover exclusively through Vinegar Syndrome.
Note: Images presented in this review are not reflective of the image quality of the Blu-Ray.
Disclaimer: Yellow Veil Pictures and Vinegar Syndrome have supplied a copy of this disc free of charge for review purposes. All opinions in this review are the honest reactions of the author.
Dillon is most comfortable sitting around in a theatre all day watching both big budget and independent movies.