One of my favorite film genres is sci-fi mystery. It’s also a genre indie filmmakers have thrived at, which includes some of my favorites such as Never Let Me Go (2012), The Machine (2014), Ex Machina (2015), and one of my faves that screened at Twin Cities Film Fest in 2014, Time Lapse.
One of the most intriguing films that played at TCFF this year is a feature film debut by Canadian filmmaker Sasha Louis Vukovic. I had the pleasure of meeting Sasha as well as lead actress Teresa Marie Doran briefly during the film fest, but we didn’t get to connect for the interview until after.
Thanks to FC blogger Holly Peterson for the review and interview questions!
In the summer of 1929 -at the end of the golden age of exploration- an expedition of Ivy League University Botanists enter an uncharted forest on the North American frontier. Tasked to study the native flora, the students unearth a deadly organism and are soon in a fight with nature itself, where they must use their limited resources to understand, survive and escape the wild and terrifying forest that surrounds them.
FlixChatter review (courtesy of Holly Peterson):
A misunderstood villain is not a new idea. Excessive violence perpetrated at the hands of a gentle being goes back at least as far as Mary Shelley’s Frankenstein in the 1800s and I am sure I could come up with an earlier example if I weren’t so gosh darn tired right now.
Point is, that although audiences are used to villains being villainous, we also understand that sometimes a villain just doesn’t have the right tools to express their good will. Everyone would get along fine if they could just talk out whatever is bothering them.
But what happens when a dealer of death, a perpetrator of violence, is not just misunderstood, but completely oblivious? What if it isn’t even sentient?
That’s the story Flora chooses to explore.
A group of intrepid young scientists treks out to a secluded forest to study it, only to find that their point of contact has gone missing. As the scientists try to unravel the mystery of this disappearance, they also begin to study the forest, which they gradually realize is more dangerous than they anticipated. Flora builds a sense of creeping dread with an intense score and several one-off scenes of tempers flaring and traps being set that you can’t help but expect to snap whenever the score begins to build again.
My one quibble with the film is that it wants its audience to see that it is diverse and doesn’t trust us to notice without calling it to our attention. This is problematic because it really isn’t that diverse to begin with. Half of the characters are white males. The Asian character goes off on a weird, unnecessary tangent about his heritage. One of the female characters has a really awful emotional speech about how she’s “just a nurse” because “they” wouldn’t let her study. The other female character doesn’t even get to tell her own story – it is told by a man behind her back and is an annoying soapbox moment about how talented and unappreciated she is because other people in her field cannot see beyond her gender. There is nothing wrong with a character facing adversity because of their gender or their race, but when six people are stranded in a forest, that is probably the adversity we should focus on.
Of course, there were a couple “DON’T GO INTO THE DARK CREEPY HOUSE BY YOURSELF” variety moments, but I think that’s kind of par for the course as far as horror/suspense goes. Humans don’t always use their best judgment and for the most part I thought the “what are you thinking!?” moments felt pretty organic.
The actors’ performances are solid and it is a compelling experience to watch a group of people fight for their lives without fighting against anything. Definitely worth a watch!
*images courtesy of IMDb
Sasha Louis Vukovic is a filmmaker from Toronto, Ontario, Canada. A graduate of the New World School of the Arts in Miami, Florida, and the Chicago College of Performing Arts, in Chicago, Illinois; his 2017 debut feature, Flora, won Best Feature Film at the London International Science Fiction Film Festival, and Best Original Screenplay at the Amsterdam International Film Festival.
Q: Where did the idea for the story come from?
The idea for the story came from my personal lack of knowledge about my ecosystem. I was amazed by how little I knew or understood about the Flora that surrounded and interacted with me everyday. So many people come and go through life subsisting and relying on Flora with very little thought of the life of those organisms. I was also fascinated with creating a non-malicious antagonist. A villain with no villainy. Something beautiful and strong.
Q: What was it like shooting a period piece on a budget?
It was excellent fun. And actually a great creative box within which to imagine and create. Every element of the script was written with budget/period in mind. So I actually found it to be quite an interesting puzzle. The period was far more boon than bane.
Q: What was the most challenging part of the shoot?
The most challenging part of the shoot was by far contending with Nature. As the entire film is shot outdoors, we dealt with bugs, rain, heat, wild rivers, storms and dense forests. In many moments it felt as if we as a team were on an expedition into a dense wild forest as well. Thankfully a little less toxic than in the film.
Q: What is it like writing a script about / acting against a non sentient “villain”?
Again, a wonderful challenge. Creating action sequences in which characters are ostensibly running from a stationary pursuer was intersting.
A lot of the film focuses on the eeriness of how silent the forest is, coupled with the mystery of what befell the past humans who inhabited it. That way, suggestion and ambiguity does a great job at allowing the audience to build up a monster in their heads.
Then, the key is creating a believably toxic environment, from which there is an immediate need to escape. Think about the urgency that befalls people during an earthquake or hurricane. Flora is about non-symbiosis, about what happens if we have to run from nature.
Q: How did you find your composer?
Our composer Nathan Prillaman is incredible. He was introduced to me by one of our lead actors/executive producers Dan Lin.
Nathan and Dan went to school together as kids and right around the time that we were hunting for our Composer, they ran into one another -for the first time in years- at a dim sum restaurant. It was fantastic luck, and lead to a great creative partnership.
Thanks Sasha for talking to us about your film!
Check out this behind-the-scenes video of FLORA: