Lavender
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Lavender

Canadian director Ed Gass-Donnelly (“Small Town Murder”) reveals his more extravagant inclinations immediately, via cinematographic tours through frozen tableaux of a farmhouse crime scene where bloodied corpses lie hidden beneath sheets. These show-offy opening salvos are later complemented by look-at-me slow-motion sequences — including a single-take close-up of Cornish in a flipping SUV — that, though severely self-conscious, imbue the material with an unreal, trance-like quality.

“Lavender”’s calm, creeping visuals are enhanced by Colin Stetson and Sarah Neufeld’s bold, discordant, malevolent score, all jangling orchestral strings and scuzzy, rumbling bass tones. In total, the film’s style is sharp, and does much to prop up a rather hackneyed portrait of deep, dark secrets coming back to traumatizing life. That process begins once Jane (Cornish) — a photographer who snaps old, abandoned homes Free Fire because they feel to her like “epitaphs” of their former residents — stumbles upon a rickety abode, and can’t seem to shake its inexplicable pull. When she wrecks her vehicle in order to avoid hitting an enigmatic girl in the middle of the street, and awakens with amnesia partly attributable to a prior youthful brain injury, her recollection process begins, leading her to discover that her pre-foster care upbringing was cut short by some sort of notorious tragedy.

Duration: 92 min

Release:

IMDb: 5.3

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Lavender
Lavender