The less you know about Spring before its arrival, the more enthralling its subtle charms. This is a delicate little gem that reveals its mysteries grudgingly; a seamless blend of moods and genres that never stops surprising you. Darkly comic and unflinchingly romantic, Spring steeps its horror mythology in realism to create a genuine sense of uneasiness. Director Justin Benson’s exquisite story of painful transformation is one of 2015’s best films.
Lou Taylor Pucci
Following their mildly acclaimed 2012 effort Resolution, directing duo Justin Benson and Aaron Moorehead further establish themselves as some of the most promising gruesome genre mechanics to be observed – if from a safe and secure distance. In their new film Spring they turn their gaze to a beloved titan of the macabre, channeling an eternal struggle of the ancient ones that H.P Lovecraft would enjoy, with creatures most cryptic dwelling among an unsuspecting population.
Spring can most easily be described as a romantic-horror: a monster movie with a heart set mostly in a small tourist destination in Italy. After the death of his mother, Evan(Lou Taylor Pucci) loses his job and gets himself in a fight that causes him to be pursued by police. With nothing left in California, he hops on the first available flight, which brings him to Italy. This adventure leads him to meeting the beautiful and mysterious Louise (Nadia Hilker).
Over the years, TIFF’s Midnight Madness programme has lost some of its grit. Once upon a time, a film as bodacious as Shrew’s Nest would have graced its lineup. Now, the Vanguard programme seems to have stepped up to take its place. Where Madness highlights trendier, more easily digestible content, Vanguard takes on the more obscure. Sexy, gritty, dirty, and horrific, Vanguard’s content is far more outlandish than its older, now slightly more restrained, cousin. Odd when you consider both programmes are curated by the jovial horror fanatic Colin Geddes.