As a seasoned film critic with a penchant for international cinema, I must say Richard Hunter‘s debut feature “Foul Evil Deeds” is a refreshing addition to the British film landscape. The film’s European art-house influences, particularly those of Ulrich Seidel, Michael Haneke, and Roy Andersson, are evident, yet it retains a distinctly British flavor that Hunter himself acknowledges.
Richard Hunter’s piece titled “Foul Evil Deeds” leans more towards a European style among early British productions, drawing influence from renowned continental art house directors instead of the customary figures of British social realism like Ken Loach and Mike Leigh.
It features interconnected narratives showcasing everyday acts of wrongdoing, ranging from negligent to heinous: “Influences include figures such as Ulrich Seidel and Michael Haneke, with Roy Andersson being a significant one, while also drawing inspiration from various others in the periphery,” Hunter stated to EbMaster.
“My work also reflects the early style of Ruben Östlund. There’s no denying that my British background is evident in my expressions.”
As a film critic, I’ve always been intrigued by the journey of Hunter into the realm of cinematography. Coming from an advertising background, he shared his origins in documentary filmmaking at university, which seamlessly transitioned him into music videos and ultimately commercials. It was within this sphere that he discovered his niche, drawing inspiration from trailblazers like Michel Gondry, Chris Cunningham, and Spike Jonze. Following their footsteps, I found myself captivated by the path he chose.
As a captivated spectator, I find it truly fascinating that each tale woven within this movie is rooted in actuality. Every narrative originates from a grain of truth, an event that unfolded in real life and was transformed into the compelling scenes we witness on screen.
As a movie enthusiast, I’ve always been captivated by the fragmented narratives and diverse ensemble casts. For instance, films like “Short Cuts” or if you prefer to overlook their interconnectedness, then consider movies by Roy Andersson or Michael Haneke’s “71 Fragments.” This style offers a certain freedom from a tight plot structure, but it’s essential to maintain a unifying theme for each character’s actions. It’s not merely about the expansive nature of life where anything can occur, but rather, it’s the exploration of human experiences – from neglecting to pick up dog poop to committing heinous crimes. The ‘foul’ and the ‘deeds’ in these films have a certain lightness that balances the ‘evil.’ There’s a playful element present, yet there’s also an underlying darkness.
The production process stretched over a year, with individual vignettes filmed independently, and editing still in progress. Hunter describes it as a luxury. The footage was captured on mini-DV using a video camera from 1993, then upscaled to DCP. This lends the film a subtle, home-video feel that complements the voyeuristic sensation created by the objective camera.
“Instead of keeping the handheld and shaky look of the footage, he decided to stabilize it for a more consistent feel. He aimed to create an atmosphere where the events seemed unavoidable, as if they were constantly happening, with the camera merely capturing specific moments here and there.”
In an attempt to present these instances impartially, I aimed to depict them as if they were ordinary occurrences, be it carrying groceries from the car to the front door or transferring a deceased loved one from a vehicle to a lake. Essentially, I wanted to portray everything as equal and ongoing, merely providing data without any bias or judgment. It’s almost like documenting these events objectively, with no personal opinions involved; allowing for mundane, everyday moments to intermingle with more significant occurrences that are always leading somewhere.
In this production, Hunter specifically acknowledges Ilenka Jelowicki, his casting director, and Matthew J Brady, the editor, for their crucial roles: “They served as the main supports.” The movie is under Wayes Production with Federica Schiavello serving as the producer. This is her debut feature film, and currently, a sales agent has not been assigned yet.
Richard Hunter considers his upcoming project linked to “Foul Evil Deeds”: “Among the numerous scripts waiting in my drawer, the next two I’m eager to work on continue the storyline.”
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2024-08-12 10:16