With this double-disc set, Arrow have put together a nice showcase of Chad Crawford Kinkle’s two features, Dementer (2019) and Jug Face (2013). Both show off Kinkle’s range with the former mixing docu-drama with occult horror, while the latter is a straight-up folk horror set in the American South. He shows clear talent in terms of sound design and unsettling imagery, with early home videos included in the set showing an early interest in horror effects. These are one of the great set of special features Arrow have put together that allow Kinkle plenty of space to explain his intentions and the practicalities involved in making both features.
As for the films themselves, the first disc contains Kinkle’s latest, Dementer, which was recently part of the digital Frightfest this year. It follows Katie (Katie Groshong, who also has a minor role in Jug Face) who starts working at a residential centre for people with learning difficulties after escaping a cult. She forms an attachment to one of the residents, Stephanie (Stephanie Kinkle, the sister of the writer/director) which takes a turn when Katie is convinced that the cult is looking to claim Stephanie as their next victim. The concept and ideas behind Dementer is worth applauding, as Kinkle set out to make a film with his sister, who has Down’s Syndrome, that wouldn’t patronise or victimise her because of her condition; in his words, he set out to make a film “from within her environment.”
He certainly achieves this aim, with the scenes at the clinic and residency effectively capturing the environment and giving space for the residents to be themselves without judgement. In a similar manner to Ben Wheatley and Amy Jump’s Kill List, the film shifts between realism and occult folk horror with a sinister recurrent sound of mini cymbals clashing and jingling. It also bears similarity to Rose Glass’ Saint Maud, with a carer struggling with her murky past as her desire to do good continues to be thwarted.
Fessenden has described the film as Southern Gothic and it’s an apt description, in its themes of taboo, tradition, and a pursuit of female autonomy.
Dementer doesn’t reach the highs of either of those films, despite it clearly being a passion project for Kinkle who funded it independently with minimal crew. Unfortunately, you can tell that he came up with the concept before the plot as it never shakes off the feeling that you’re watching two different films competing for attention. It still has plenty to keep you interested with an interesting focus on perspective, as we are encouraged to perceive events from Katie’s warped point of view. But the savvy direction can’t fix the repetitive script as we watch Katie preparing each step of the ritual to protect Stephanie. The threat to Stephanie is barely felt until the end, with no real buildup of tension. As an attempt to do something new, it is of interest, but its potential is the most interesting thing about it.
It’s interesting to watch Jug Face in this light, as it is a far more straightforward piece. Set in an isolated community in the woods, we predominantly follow Ada (Lauren Ashley Carter) as she negotiates her way through the traditions of her family, both literal and communal, that center around a mysterious pit which demands sacrifices. As her father (Larry Fessenden, also in Dementer as the cult leader) states, “without the blood, the waters of the pit will heal no one,” with the sacrifices chosen through Dawai’s (Sean Bridgers) communion with the pit and creating clay face jugs of the person that the pit has selected. Ada discovers that she is to be the next sacrifice and in panic hides her face jug, with dire consequences as she tries to escape her fate and keep secrets hidden.
It is ironic that in making a film about a community that strictly upholds traditional values that Kinkle felt he was too rigid in his direction, focusing on getting the look he wanted and not allowing the space for accidental or improvisatory moments. It pays off though, as there is a clear vision for how this community behaves and the horror that emerges from the pit. The creepiness is aided by a superb location that feels both claustrophobic and wild, where escape isn’t possible, but dangers could hide anywhere. Fessenden has described the film as Southern Gothic and it’s an apt description, in its themes of taboo, tradition, and a pursuit of female autonomy.
However, while it is better made and slicker than Dementer, Jug Face lacks originality and doesn’t contain any real surprises. Kinkle is keen to keep things ambiguous in both films, which isn’t a problem for me, but it feels like it is used to mask a lack of depth. As a collection, it shows a lot of promise for Kinkle and, while not the most satisfying of watches, both films have things to recommend and prove interesting variations on the horror genre, even if they are not entirely successful.
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THANKS FOR READING MIKE’S REVIEW OF DEMENTER+ JUG FACE
Reportedly drummer Dave Rowntree still finds this film unwatchable; Graham and Ewan are a little more generous. That said, the film’s main asset is the one director Matthew Longfellow barely seems to notice: it depicts the band on the verge of releasing Modern Life is Rubbish, an album which saved them from one-hit wonder status and set the agenda for the next decade of British rock music. POP SCREEN
