In Russian theaters, an experimental slasher by Canadian Chris Nash, which looks enticing at the concept level but fails in execution. About what could have made 'In a Violent Nature' better—further in the review.
The film's setup is something so clichéd and archetypal that it inherently carries a parodic, deconstructive element. A group of students is relaxing in the woods and accidentally disturbs an evil spirit—the hero of a local urban legend. He awakens from his slumber and proceeds to butcher the students, and indeed everyone he encounters along the way.
Most notable in Chris Nash's horror is the formalist component, which pushes content into the realm of schematic convention. By combining in visual storytelling the style of VHS-era slashers (image format, "cheap" violence) with original camera techniques (angles reminiscent of "video games," as if attached to the character in third-person view), the creators not only pay homage to cult films of yesteryear but also seek to revive the genre itself through revolutionary innovations. And, of course, the main one is the perspective: for a good part of the film, the viewer observes events through the eyes of the antagonist.
But as interesting as all this may sound on paper, the final result is rather disappointing. The editing and screenplay do not fully allow the main gimmick—which those involved boast about the most—to shine. It is completely unclear why the long walks of the maniac through the forest are needed, if the film has plenty of cuts, changes of place and time. Even more unclear is why jump cuts are needed, which don't really speed up the dynamics but instead reveal the cheapness of the production.
'In a Violent Nature' could rightfully be called experimental only if it were shot entirely in one take, or at least skillfully imitated that technique, like '1917' by Sam Mendes. Moreover, the concept itself does not warrant a ninety-minute runtime and would be much more organic as a short film. The film also critically lacks a creepy ambient soundtrack, as the rustling of leaves and sounds of footsteps instead of tension-building music make some scenes unbearably meditative and tedious.
After watching, I wondered how justified the existence of the slasher as a horror subgenre is in 2024. And if Renny Harlin's film was just clichéd banality, then 'In a Violent Nature' is a treasure trove of curious but undercooked formalist finds. Alas, no 'horror sensation' came out!
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Open materialHowever, Chris Nash is not the only one who thought of showing a horror film through the villain's eyes, and already at the end of August, Steven Soderbergh's 'Presence' with the same gimmick will be released in Russian theaters. Whether the acclaimed Hollywood experimenter will manage to perfect the original idea or whether his new work will share the fate of the fresh Canadian slasher, we will find out soon.
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