Spring is a film that has already garnered applause, first from its run on the festival circuit, including Fantastic Fest right here in Austin, TX and also after its release and subsequent dominance of both the horror and romance charts on iTunes earlier this year. The fact this film achieved such a feat is a testament to the genre splicing experience it provides, which should be experienced with as little foreknowledge as possible.
We meet Evan (Lou Taylor Pucci) at a low point in his life. Not too long after the death of his father in a car accident, his mother is struck down by cancer. Leaving college to care for her and taking a job as a cook, her death leaves Evan with little direction or hope. A trip to a bar after her funeral ends up in a fight with another patron. Scrambling to find purpose in his life and now with the cops banging on his door, he decides to take off on a long delayed trip to Italy. When he arrives he falls in with some British tourists and while traveling the country letting off some steam he meets and becomes enraptured by a mysterious and beautiful young woman called Louise (Nadia Hilker). Evan takes a job working on a local olive farm to stay in the town and a whirlwind romance begins; but while Evan is working though his own pain, Louise is concealing a far more unusual secret of her own.
Spring is a season like no other. It’s a time of change and the film ultimately embodies that, exploring the cyclic nature of life, death, and rebirth. Visuals peppered through the film reinforce the central narrative. Evan is a young man who has cast off his life; in a sense he’s liberated after leaving home following the death of his parents and beginning afresh, an unknown in a strange land. His journey brings him to Louise who on the surface is an old soul, the perfect counterpoint to Evan’s youthful exuberance. Louise is on the verge of undergoing a rebirth of her own, literally. It would risk spoiling the film with further elaboration as to Louise’s predicament, but her situation makes her in essence a transient, something most evident in her first meeting with Evan. She is looking for something with no strings attached whereas Evan is looking to fill an emotional void in his life. Over the course of the film they meet somewhere in the middle, two souls that need each other to heal.
Spring doesn’t feel overtly targeted at horror fans; there are unsettling moments delivered through some well crafted visuals, but as a film it errs more toward the emotional end of the spectrum. A deftly layered sense of doom pervades the film as it progresses as all great love stories do, but which plays to the horror angle beautifully. We spend time with these two tortured people, the chemistry bubbling away as they spend time together. There is a refreshing amount of time given to this, but the energy or pace of the film never dips.
Co-directors Justin Benson and Aaron Moorehead, who seem to have a hand in virtually every aspect of the film’s production, have put together something special here. Comparisons have been made to the Linklaker “Before” series, and it’s very much true and a big compliment to these filmmakers. Nuanced writing captures the raw, early stages of a relationship that develops into something incredibly deep and genuine. I adore their selection of Italy as a backdrop to this blossoming romance, shown off by some compelling camera work and cinematography. It’s a perfect choice as an old city with mythical undertones, mysterious but beautiful, and a fitting reflection of Louise herself.
Some would deem her a monster, but she’s just another creature trying to survive in the world. The character is not only sympathetic but one you’ll fall for a little yourself, largely thanks to the vivacious charms of Nadia Hilker. The film largely rests on her partnership with Lou Taylor Pucci, and they utterly succeed in their portrayal of this pair locked together at a crossroads in their lives.
There are a number of pull quotes that revolve around describing Spring as a “monster movie disguised as a love story,” but this is first and foremost a love story before the horror elements. While it is in a sense genre crossing, the reality is that these genres have gone hand in hand in cinema for decades. Love is always dangerous, the vulnerability required exposes all of us; the danger here just manifests in more unusual ways. Each of these aspects of the film is approached in a mature way and their execution is only bettered by how well they are entwined with each other. A rare (tentacled) creature indeed.
THE PACKAGE
Spring showcases some wonderful cinematography and really conveys the richness of the Italian setting. Thankfully the transfer does it justice. There is good detail throughout with no noticeable artifacts. The color grading of the film gives it an occasional ethereal quality which is represented nicely.
The film itself is accompanied by a great set of extras. The most notable is a great audio commentary with writer/producer/editor/director Justin Benson and producer/editor/cinematographer/director Aaron Moorhead. As you’d expect with such wide ranging input to the film, it’s very insightful. There is also a nice “The Making of Spring” featurette as well as shorter featurettes “The Talented Mr. Evan,” “Angelo: The Worst Farmer,” “Wankster Girlfriend Monologue,” and “Evan Ti Odio.” These are somewhat more entertaining than enlightening additions, but are very much welcome. There are also deleted scenes, SFX case studies, a Proof of Concept short, and an “alternate ending.” An impressive set of features that showcase the conception and making of the film, as well as the personality of the filmmakers.
THE BOTTOM LINE
What makes a great horror film is the same thing that makes a great love story, the human element. Only when you empathize with the characters can you truly value their pain and their joy.
Spring manages this with a script married to very genuine performances and sparkling chemistry between the leads, as well as some exquisitely complementary direction and cinematography. It is simply one of the best love stories released in years; the fact it so effectively splices in elements of horror is a bonus. It makes for a wonderful piece of film making that comfortably straddles two genres, mastering both with ease. As refreshing as the season it is named for, Spring is an unmissable experience.
Checkout my conversation with directors Justin Benson and Aaron Moorhead for more insights into the making of Spring here.
Spring is available from June 2nd as a Best Buy exclusive and from retailers nationwide from August 11th.