Compression, the film recently directed by Jakob Bilinski (Three Tears on Bloodstained Flesh, Volumes of Blood), is a dynamic adaptation that he also edited, took out and co-wrote with Peter Matsoukas (My Way is the Highway, No Place). It certainly caused a stir, premiering at the Horror Hound Weekend two weeks ago where it was nominated for 11 awards and won seven: Judges Choice, Best Feature Film, Best Directing, Best Lead Performance, Best Supporting Performance, Best Writing and Best Editing.
Now as you all know I’m a bit cynical when it comes to awards from festivals and conventions. But Horror Hound is an established event with credibility; it’s not some unknown festival that’s there to collect entry fees and sell trophies. Which basically means I was quite excited when asked if I wanted to review Compression.
Hazel Hendrix (Emily Durchholz; Morbid Colors) is a successful true crime podcaster. Her agent Jay (Leland Morrow; Gayliens) wants her to do live appearances to help promote the show and take things to the next level but there’s just one problem Hazel has severe agoraphobia. Presumably brought on by an attack we see her escaping as the film opens.
With this in mind and how the first half hour plays out phone calls with Jay, chats with her therapist over video call you might think Compression is another screenlife movie. You’d be wrong though because instead of being another screenlife/shared computer desktop movie she unwisely dumps an entire bag of magic mushrooms on her pizza: “Here’s to opening doors.” She has no idea what she’s in for.
Now despite playing at Horror Hound Weekend hell despite winning all those awards at Horror Hound Weekend. I’m almost hesitant to call Compression a straight-up horror film. It does touch into psychological horror as Hazel’s past and the demons contained within it resurface under the influence of the shrooms, and some of her scenes with Darcy (Devin McBride; Beyond the Leaves, Heads Up! Ketchup) do nod towards Altered States. But for most of its running time it’s much more a fusion between dark drama and magical realism than horror.
There’ve been plenty of films about trips gone bad, Gaspar Noé’s Climax being a recent example. But what sets Compression apart from most of them is several things. Most importantly the script is solid. It’s not meant to be a simple drugsploitation film and instead favours a realistic portrayal of a trip over cheap scares and outrageous hallucinations as Hazel goes further into her own mind and finds she has to face what’s there if she wants to keep her sanity nevermind ever leave her house again.
That script is anchored by an exceptional performance from Emily Durchholz as Hazel who takes us through an emotionally brutal night that regularly has you on edge as we head towards a final revelation that genuinely shocks but also surprises. She’s given excellent support by Kevin Roach (13 Slays Till Xmas, The Bad Man) in a dual role as her ex Elijah/the subject of a painting come to life as well as Kara Gray (Real Cool Time, The Gospel Writers’ Autographs) as fan she’s been corresponding with closely.
It’s a visually fascinating journey that Bilinski, the cinematographer and colorist, does as interestingly as it is in terms of plot. His use of light frequently brings forth Suspiria and Creepshow to mind and with the score by CJ Johnson (Children of the Cloth, Fall of Camp Blood) it creates an excellent backdrop for the story.
“Compression” is an above-average film that should find its audience among those looking for something weird and disturbing while still remaining rooted in reality, true to the best horror tradition that reflects our real-world terrors we inflict upon ourselves and each other. It’s a thoughtful yet oddly optimistic trip down into darkness within one’s own mind that deserves attention.
This is Jakob Bilinski’s latest movie after “Three Tears on Bloodstained Flesh” and “Volumes of Blood.” He directed it, edited it, shot parts of it himself along with Peter Matsoukas who co-wrote this feature length film (My Way is the Highway, No Place). The buzz started when they premiered a few weeks ago at Horror Hound Weekend where they got eleven nominations winning 7 outta those 11 – Judges Choice Best Feature Film Best Directing Best Lead Performance Best Supporting Performance Best Writing Best Editing.
Now if you’re anything like me you know I’m very skeptical about festival/ convention awards. However Horror Hound has been around for years so I do put some stock into their reputation unlike certain festivals that pop up just long enough to collect entry fees then disappear again selling trophies to anyone who will pay for them. That being said I was intrigued when asked if I’d be willing to review “Compression.”
Hazel Hendrix played by Emily Durchholz (Morbid Colors Both Ways: The Movie) is a successful true crime podcaster. Her agent Jay (Leland Morrow; Gayliens) wants her to do live shows to help promote the show take it to the next level but she can’t because she has severe agoraphobia presumably from the attack we see her escaping at the beginning of the movie.
Following that and as the first half hour or so plays out a series of phone calls and video chats with Jay, her therapist and her sister you might be expecting “Compression” to be another screenlife movie but it’s not. Instead she dumps an entire bag of mushrooms on her pizza unwisely stating “Here’s to opening doors.” She has no idea what’s about to happen.
As much as I want to call this a straight-up horror film it is hard for me to do so considering how well it played at Horror Hound Weekend. It does dip into psychological horror territory when under the influence of shrooms Hazel’s past rears its ugly head but some scenes between her and Darcy (Devin McBride; Beyond the Leaves Heads Up! Ketchup) reminded me more of Altered States than anything else. For most parts though throughout its running time this is closer in tone to dark drama/ magical realism than anything resembling outright horror
Numerous films are being made today about bad trips Climax being one of the most recent but Compression rises above the rest in several ways. First and foremost, there’s a solid script here; this is no simple drugsploitation film and the script does not favor cheap scares and outrageous hallucinations as Hazel delves deeper into her own mind only to find that she must confront what’s there if she ever hopes to stay sane again, let alone leave her house.
The script is buoyed by an incredible performance from Emily Durchholz as Hazel, who takes us through a night that is emotionally brutal and frequently terrifying as she hurtles toward a final revelation that is both surprising and shocking. She’s aided by strong work from Kevin Roach (13 Slays Till Xmas, The Bad Man) in a dual role as her ex Elijah and a painting come to life, and Kara Gray (Real Cool Time, The Gospel Writers’ Autographs) as a fan with whom she has grown close.
It’s a journey that cinematographer/colorist Bilinski makes as visually intriguing as it is propulsively plotted. His use of lighting often recalls Suspiria or Creepshow, and combined with CJ Johnson’s score (Children of the Cloth, Fall of Camp Blood), it provides excellent visual soil for the story to unfold upon.
Compression is an above-average movie that should appeal to people looking for something strange and unsettling but still grounded as all great horror should be in the real world where we live with each other. It’s a thoughtful and strangely hopeful descent into the dark side of the psyche, one which begs to be seen.
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