Starve Acre has been adapted from a novel by Andrew Micheal Hurley in a screenplay by Danial Kototajlo, who also is the Director of this film. It falls comfortably into the inimitable English tradition of folk horror, very intimately connected with the earthy and with landscape.
Richard ( Matt Smith) his wife Juliette ( Morfydd Clarke) and their young son Owen ( Arthur Shaw ) are living in Richard's childhood home, after his Father dies. Richard has a flourishing vocation as an archaeologist, so his returning here is not a great career move. Though its clear from the start he has issues with his deceased Father's abusive relationship towards him, that he wishes to try to resolve. Richard tells Owen about the old oak tree that used to be on the land, that was a gathering point for the locals. Once he sets about excavating the remains of it, weird things start to happen. He rediscovers the boxed skeleton of a hare in his Father's office, which almost over night develops flesh and fur and comes back to life. It appears to be embodying the suppressed spirit of this harsh barren landscape.
Owen starts behaving erratically, and at the local fair he stabs a pony in the eye with a stick. Juliette is frantic with concern, whilst Richard appears to be trying too hard not be ruffled by it. Then Owen dies in tragic circumstances. Juliette's sister Harrie comes to provide emotional support, but finds the relationship between Juliette and Richard has become strangely dysfunctional. This turns around the rejuvenated Hare. Richard perceives something in it that is reviving painful memories from his childhood.
Set in the early 1970's this film has a distinctively period patterning and colour pallet, of orange and brown ochres and insipid pastel greens. Even down to the colours of their cars. There is a feeling for their isolation, not just physically, but also in time and in their minds. This film benefits hugely from having lead actors of the calibre of Matt Smith and Morfydd Clarke, there is not a huge amount of dialogue in the film, but a lot of staring transfixed meaningfully into space. Both of them have subtly expressive faces that communicate a massive amount without saying a word. Morfydd Clarke, in particular, has this almost mad intensity that is quite mesmirising to watch. I found the film unsettling. It has a creeping unease that can be uncomfortable to sit with at times. This is an odd film, consciously quirky and idiosyncratic. Its tells you just enough, but suggests a whole lot more is going on here than what you're being shown. You are never exactly sure quite how far the script and the Director might be willing to take you.
CARROT REVIEW - 5/8
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