Is it possible to mix arthouse sensibilities with the slasher sub-genre? Well, Chris Nash’s horror film In a Violent Nature answers that question with a resounding yes. This is the kind of endeavor that demands patience from the audience as it’s completely slow and methodical but Nash pays off that patience with some truly brutal and inventive kills while creating a completely immersive horror experience. However, despite not shying away from brutality and giving gore fiends what they want, this will not be for everyone and it’s only fair to make that fact known. A lot of the film works if you’re willing to stick with its gimmick, which is quite frankly a truly unique spin on a sub-genre that has really done it all.
At first In a Violent Nature seems like it’s going to be incredibly familiar. The movie follows a killer who begins to stalk a group of teenagers in the woods. Everything about it feels like it’s going to be a take on Friday the 13th but it eventually shows its hand. After the teens find a locket from a collapsed fire tower, they unwittingly awaken the decaying corpse of Johnny (Ry Barrett), a vengeful spirit whose evil is connected to a 60-year-old crime. The hook here is that Johnny is a completely mute killer and much of the film’s events are seen from his perspective. It’s clear that Johnny wants to retrieve the locket that was taken from him and this sets up one of the most compelling looks into the day in the life of a sadistic killer.
In a Violent Nature has been described as an “ambient slasher” with writer and director Nash saying that he took inspiration from the films of Gus Van Sant, including 2002’s Gerry, 2003’s Elephant, and 2005’s Last Days. All of these projects follow characters through a scene deliberately and methodically, choosing to use static long-take shots that create the atmosphere of a normal and mundane day. Applying this to a killer in a slasher film makes it clear right away that the intention is to not sympathize with any of the victims. The audience is seeing the majority of this through Johnny’s eyes so if the viewer is looking for a final girl to root for, they won’t find it here. This is Johnny’s story and the viewer is taking in all of the atmosphere from his point of view.
As Nash follows him, the audience learns bits and pieces of Johnny’s backstory, but not enough to dilute his mystique. He was once a mentally challenged young man who was bullied and woods. Through long shots, as we watch Johnny walk and stalk his prey, the audience learns that his violent nature is likely because of what he endured in the past which is why he shows no mercy to the group who took what’s his. This is what will either entice viewers or turn them off. Nash’s camera is frequently just on the film’s would-be-killer and it’s a technique that might be challenging for some but effective and rewarding for those willing to go with it. If anything he moves with a purpose, and that purpose is to leave body parts in his wake.
Sound design and atmosphere are essential to the success of the film. From the sounds of the wilderness to the pounding footsteps of the film’s killer, to the deceiving beauty of the Ontario landscape, the intention is to almost create a false sense of security. The viewer is so in tune with especially what they’re hearing, that it becomes incredibly jarring when a scene of horror takes place on screen. It’s a mix of ease and uneasiness that has to be experienced to be believed. It’s the film atmospheric whiplash that becomes its crowning achievement.
The other characters almost don’t matter. They do have names but the audience rarely hears them and only Kris (Andrea Pavlovic) takes on a bit of a “Final Girl” role here but it’s limited and her best character trait is that she is smart enough to make herself scarce once things start to get nasty. The other characters are there to add to the body count and this is where the film will earn its accolades from horror fans. There are some truly inventive kills here, with some being more explicitly gruesome than others.
Because the film is so deliberate in its approach, the movie earns its brutality. When Johnny comes upon a victim, the audience knows it won’t be pretty and it breaks up the more serene atmosphere that is going on around them. The movie has already become known for one extreme kill and thankfully for the audience, it lives up to the hype. The kill won’t be revealed here but it’s brutal, creative, and unlike anything you’ve seen before. While the other kills don’t approach those heights, they’re still unrelenting in their depiction.
In a Violent Nature is bound to become a cult classic, most notably because it tries and mostly succeeds at taking the slasher sub-genre to a new level. Again, the movie won’t be for everyone and there will be a pocket of the audience that will feel it’s too artsy for their tastes but if you’re willing to step into Johnny’s world, you’ll be in for a truly harrowing experience that becomes a true attack on the senses.
In a Violent Nature opens in theaters this Friday.
In a Violent Nature is bound to become a cult classic, most notably because it tries and mostly succeeds at taking the slasher sub-genre to a new level. Again, the movie won't be for everyone and there will be a pocket of the audience that will feel it's too artsy for their tastes but if you're willing to step into Johnny's world, you'll be in for a truly harrowing experience that becomes a true attack on the senses.
-
GVN Rating
Hello! My name is Gaius Bolling: movie, TV, and pop culture junkie! The industry has been in my veins since I was a kid and I have carried that on through adulthood. I attended Los Angeles Film Academy and participated in their screenwriting and editing program. From there, I have learned to hone my skills in the world of entertainment journalism. Some of my favorite genres include horror, action, and drama and I hope to share my love of all of this with you.
