Meet the Horny Demon in ‘Portal to Hell’ – A Hilarious Take on Low-Grade Evil!

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As a film enthusiast, I found Woody Bess’ directorial debut, “Portal to Hell,” intriguing because it makes the underworld a palpable reality. Unlike other movies that focus on significant criminal activities, this movie dives into the realm of “everyday wickedness” instead.

Bess remarks, “Day by day, we seem to accept a form of subtle wickedness – issues like wealth disparity or discrimination based on sex, race… It’s just there, and life carries on. Each day I see someone homeless on the street. As an independent filmmaker, I don’t have much wealth, but I could potentially make a difference in that person’s life, if not improve it significantly. That’s where the idea of ‘hell’ originates from here; there’s this clear injustice, and the one who decides to act against it is seen as unusual.

Tonight at the Slamdance Film Festival in Los Angeles, the movie ‘Hell’ will premiere. Initially focusing on the ordinary, it follows Trey Holland (the producer) as a medical debt collector who often faces abuse from frustrated patients. However, one evening, he unexpectedly witnesses a portal to hell opening at his local laundromat. A demon (voiced by Richard Kind) then appears, informing him that he’s there to claim Dunn’s good-natured neighbor (Keith David). Shocked by this revelation, Dunn is given the opportunity to save his friend, but only if he sacrifices three individuals deemed evil by society – such as predators and drug dealers. This leads him on a quest to eliminate those whom he believes are the worst elements of society.

Bess, a horror fanatic, found genre film a great vessel for philosophical thought.

He remarks, “There’s a certain liberty in it.” He continues, “Primarily, it’s about captivating the audience. If you can effectively frighten them and create an atmosphere where everyone feels like they’re on a thrilling roller coaster ride, then you have the opportunity to express something truly distinctive. ‘Get Out’ is a brilliant illustration of this. It’s an exceptional tool for conveying a message, and many filmmakers, such as Mike Flanagan and Jordan Peele, start in horror because they enjoy the freedom to communicate their thoughts, provided they can scare the audience.

Bess, a cinematographer with much to share on death and ethics, spent nearly three years completing his independently-funded film titled “Hell.” With ownership of the camera and anamorphic lenses, he bypassed rental costs. To fund the project, Bess took on various jobs, such as shooting a music video for a wealthy woman’s daughter. He also enlisted the financial support of his college friends who pursued finance instead of arts, and shot most scenes in his apartment. This flexible setup attracted bigger stars; David was only able to participate six months later due to schedule conflicts, while the production team traveled from L.A. to Brooklyn to accommodate Kind.

In my humble opinion, as a film enthusiast, I’d say this production seemed to prioritize adaptability above all else. If an opportunity presented itself and someone was ready, they jumped on board. And when there wasn’t a suitable candidate available, they patiently waited for the right moment.

As a passionate cinephile, I can’t help but appreciate the raw, gritty style that infused this film with unforgettable scenes. One such scene left me in stitches – it featured Kind’s demon character, cleverly disguised as a human (also portrayed by Kind), who was embarrassingly eager to explore his newfound sexuality.

Another recurring theme in the movie is the catchy 2011 hit “Tonight Tonight” by Hot Chelle Rae. This tune, which seems to have permanently lodged itself in my brain, serves as a running gag that reaches its climax with a cameo from Ryan Follesé, the band’s lead singer and a close friend of Bess. He graciously poked fun at his rock star image during this appearance.

In the end, as this movie delves into themes of morality, crime, and retribution in its introspective finale, it provides Bess with an opportunity to illustrate that human nature is far from being merely black and white. Instead, it subtly suggests that the afterlife might be a much more intricate tapestry than our conventional notions of heaven and hell would lead us to believe.

“A lot of my favorite people are fuck-ups and have made mistakes,” he says. “But it’s those mistakes that make them great people.”

See the “Portal to Hell” poster below.

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2025-02-23 01:17