It started as something of a joke.
In the process of creating the trailer for their joint directorial project, “It Doesn’t Get Any Better Than This,” Nick Toti and Rachel Kempf added a playful touch to the closing moments of the preview.
He commented, “It seemed as if it lacked a certain element.” So, they added a notice at the end: “A message from the film’s creators: ‘We are sorry to disappoint, but this movie will not be available online. Visit a cinema instead.’
This independent three-person film crew responsible for the found footage horror movie titled “It Doesn’t Get Any Better Than This” made an unconventional agreement prior to filming a single frame: They decided not to release their work for streaming or digital/physical purchase, restricting it solely to theatrical screenings. Despite appearing as a constraint, this decision unexpectedly fueled word-of-mouth enthusiasm for the low-budget project, resulting in packed houses nationwide without any advertising dollars spent.
The unique backstory of “It Doesn’t Get Any Better Than This” traces its roots to the quaint town of Kirksville, Missouri. Here, creative duo Kempf and Toti manage a modest publishing house, DieDieBooks, specializing in non-fiction about horror films, as well as a production company for their artistic endeavors, DieDieVideo. In search of locations for an upcoming independent film they wished to produce, they purchased a rundown duplex in 2021, believing it was the ideal spot to swiftly bring to life a long-nurtured personal project.
Toti had long been captivated by Kempf’s frequent séances with her close friend, Christian, leading them to craft a film with a loose narrative based on this theme. In their production, a duo called Nick and Rachel purchase a dilapidated property in Kirksville, Missouri, and the oddities begin to multiply, becoming more pronounced after Rachel and Christian hold a séance within the house itself.
The fusion of fact and fantasy in the movie echoed the structure of “The Blair Witch Project,” a horror film in which the main characters used their real identities. Since the actors had a complicated rapport with celebrity due to their real personas on screen, Toti, Kempf, and Christian opted against distributing the project through streaming platforms, digital downloads, or easily pirated physical copies. Toti himself explains that this approach was a fresh departure from his past independent film releases.
For 15 years, I’ve been creating films, yet none of them have garnered much attention or financial success online. People seem indifferent to my work. However, this has led me to think, ‘Ah, this is a new challenge.’ Despite my efforts to engage audiences with these movies, my approach isn’t typically commercial. With this latest project, I found that it falls under the horror genre, which naturally attracts more viewers. We knew we could tap into the fanbase of found footage enthusiasts. But we also discovered a potential gimmick and realized it could be leveraged. While making the film big wasn’t our primary aim, increased attention brought about significant shifts for us.
With a history of independent productions under their belt, their strategy appeared sound, and they embarked on a road trip across the Midwest during summer 2023. They displayed their movie in small art spaces for alternative cinema, covering travel expenses through donations while also promoting some DieDieBooks titles to intrigued horror enthusiasts. However, something unexpected happened – “This” garnered attention, clinching the Audience Award at North Carolina’s Queer Fear Film Festival. By spring 2024, the film gathered more recognition from screenings at Unnamed Footage Festival and Salem Horror Fest. “This” was subsequently invited to showcase as part of Toronto International Film Festival’s Midnight Madness lineup, forcing Kempf and Toti to halt their DIY screenings but offering the film increased exposure instead.
Initially, the TIFF slot offered a double-edged advantage because the roadshow largely succeeded as planned. However, screenings at film festivals elicited a range of reactions, which translated into diverse opinions on some Letterboxd reviews. Notably, Kempf’s performance drew specific criticism, with comments such as “I found the filmmakers annoying, especially his wife’s loud voice,” “The film isn’t spoiled as much by the wife’s shriek-like laughter as it is by her banshee scream,” and “Rachel’s persistent, piercing cackle is the most horrifying thing ever captured on camera.
Kempf admits that we were bound to be controversial figures, and he expected to be particularly so. There are several reasons why we might not want to publish our work online. However, since we were portraying ourselves and had genuine footage of ourselves, the boundary between reality and fiction was incredibly unclear. This was a significant factor. I’m aware of the Internet’s treatment of women who don’t fit the stereotype in horror movies as sexual objects. As some online reviews on Letterboxd suggest, I seem to be the focus of their anger, just as I anticipated.
Apart from voicing displeasure about her directional skills, Toti was equally annoyed because despite being credited jointly as directors, some harsh criticisms labeled Kempf as “the director’s wife” in their reviews.
He points out that it’s not difficult to identify the underlying sexism in those remarks. To be honest, I find myself quite irritating in the film as well,” he says.
Against all odds, the film’s popularity soared following its initial screenings, sparking increased demand for further screenings – an extraordinary accomplishment given that it had no advertising budget, online presence, or distributor. Fast-forward to this coming Friday, and “It Doesn’t Get Any Better Than This” is slated for a 10-city screening at Alamo Drafthouses across the nation. Many of the showtimes, including those in San Antonio, Denver, and San Francisco, have already sold out, while additional screenings are being added in cities like L.A. and Austin to accommodate the high demand.
Currently, Kempf and Toti continue their filmmaking endeavors, with their initial dark love story titled “Homebody” in post-production, set to be released in 2025. Simultaneously, they are working on the preparations for another project, a slasher movie entitled “Scary New Year.
About the phrase “It Doesn’t Get Any Better Than This”, despite facing some online criticism that their screening plan may not be effective for small-town audiences, the duo plans to continue showing it as long as there’s demand. They invite interested individuals to request screenings via a form on their website. The pair envision this project as similar to an independent touring band, aspiring to foster a community passionate about discovering unconventional art.
Kempf admits, ‘We’ll make every effort to arrive,’ reflecting his understanding of the issue, ‘Since we reside in a remote location, not many films are shown here. Some movies don’t even reach us until they become available for streaming.’ He acknowledges that he too faces this challenge, living as he does in a rural area.
Toti comments that it’s disheartening for him to realize we’re from a small town and the films we screen there too. He finds their reaction discouraging, as if they’re saying, ‘Too bad for you, this isn’t fair because I’m not like you.’ But let me assure you, we are just like you. If they approached it with a more positive outlook instead of criticism… They either exhibit overly negative or disingenuous perspectives.
Toti thinks it’s smart of the trio to stick with a theatrical-only release for the movie, providing a special stage where bold films can shine and be appreciated by viewers who pay close attention.
He expresses doubt about whether our brains could handle prolonged, thought-provoking scenes suitable for viewers in the early stages of filmmaking. However, if someone becomes fully immersed in a cinematic experience and stays engaged, it might be feasible for such an experience to transfer to home viewing. Yet, he isn’t certain that we would have come up with this idea if we hadn’t chosen this as the exclusive method of presentation.
Watch the trailer and see the poster for “It Doesn’t Get Any Better Than This” below.
Read More
- SUI PREDICTION. SUI cryptocurrency
- „People who loved Dishonored and Prey are going to feel very at home.” Arkane veteran sparks appetite for new, untitled RPG
- LDO PREDICTION. LDO cryptocurrency
- Destiny 2: A Closer Look at the Proposed In-Game Mailbox System
- Clash Royale Deck Discussion: Strategies and Sentiments from the Community
- Jennifer Love Hewitt Made a Christmas Movie to Help Process Her Grief
- ICP PREDICTION. ICP cryptocurrency
- Naughty Dog’s Intergalactic Was Inspired By Akira And Cowboy Bebop
- Critics Share Concerns Over Suicide Squad’s DLC Choices: Joker, Lawless, and Mrs. Freeze
- EUR IDR PREDICTION
2025-01-11 05:20