Filmmaker Mike Flanagan has produced several successful entries to the horror genre, most notably the Netflix series The Haunting of Hill House. In 2011, Flanagan would write, edit, and direct one of his first full length films.
“Absentia” is a true indie flick in funding and style. Its muted tones are reminiscent of psychological terror from that era – I was reminded of “The House on Pine Street” right away. The cast is comprised of relatively unknown talent, all of which are capable though occasionally flawed in their performances.
The film opens with Tricia (Courtney Bell) replacing distressed missing person’s posters with fresh ones. The neighborhood street in Glendale, California is littered with the same poster, the subject being her husband, Daniel. The score is somber and the mood anything but sunny. In true “Pine Street” style, Tricia is pregnant.
Indie Feel
Tricia’s sister Callie (Katie Parker) is moving in, and we learn that Daniel vanished seven years ago without a trace. Callie is helping Tricia go through the formalities of declaring Daniel dead in absentia. As if that trauma weren’t enough, Tricia is plagued by visions of her husband, and Callie is stalked by the demons of her drug-addicted past.
Katie Parker is a fantastic lead for a film of this ilk. Her character Callie is likeable, and despite her former issues with drugs, is a character we trust and want to see succeed. Callie has an early morning jog through a creepy nearby tunnel that serves as a catalyst for the plot as she encounters a disheveled man in the shadows. “You can see me?” he decries. Her look of panic is authentic.
Courtney Bell is also solid as Tricia and has a believable rapport with Parker as sisters. One great scene depicts Tricia offering ideas as to Daniel’s whereabouts. 7 years have passed since her husband vanished. She has forged sad but convincing narratives to explain this trauma to herself.
Mike Flanagan Style
Mike Flanagan’s style in “The Haunting of Hill House” is touched upon here. Unexpected jump scares, high levels of tension, and a unique plot are visible. The film runs 92 minutes with a fast start that cools off by the second act. The conclusion is fine. Somewhat confusing, somewhat unsatisfying, it reflects the early work of an artist.
“Absentia” is a film I want to love. The indie feel and promising open had me riddled with goosebumps. Had I found a gem? A diamond in the rough? Or a new favorite to dial up every October? Sadly no. The pace slows to a crawl midway though. The final lap is stylistic and weird. Some wonky CGI. Parts that didn’t fit. It left me feeling so-so about what I had watched, without enough drawing to watch it again.
I recommend “Absentia” for anyone looking for a good horror flick. It fails on replay value but does offer the blueprints for a (then) on-the-rise horror filmmaker.
