Buried Alive Film Fest opened with Joe Badon’s abstract descent into depression
The Buried Alive Film Fest ran from Nov. 14–18, 2018, in Atlanta.
Heartbreak, loss, we’ve all experienced it in some form. We all have found our own ways to cope, so often providing impetus to change ourselves or channel those energies into something. Unsurprising then that so many films revolve around such matter, meaning that you have to do something different to stand out. Challenge accepted by first time filmmaker Joe Badon, whose The God Inside My Ear delivers a unique take on the emotional roller-coaster experienced after a breakup.
Eliza (Linnea Gregg) is a woman shell-shocked by her partner Fred’s (Joseph Estrade) decision to end their relationship. Having undergone some form of spiritual awakening, he decides to follow a path that leads away from her, leaving her to struggle alone with the aftermath. While she initially tries to move on, diverting attention to her job, friends, and an attempt to get back into the dating scene, she soon finds herself overwhelmed by depression. Her mood is worsened as she seems to be losing grip on reality, with confusion and paranoia fueled by unusual visions and events such as a talking dog and a bizarre situation with a stalker. When she starts to hear voices herself, she begins to suspect she might also have a connection to a higher power.
While not a horror film per se, the trippy terror here comes from Eliza’s psychological descent. Consumed by depression, she’s entering an emotional spiral, while around her these unusual occurrences add intrigue. The film isn’t about definitive answers or a fully cohesive narrative, but more about the emotional journey of this woman after an event upends her world and belief system. Much of the film hinges on the performance of Linnea Gregg, and she rises to the occasion, authentically capturing an impressive range of emotions from the beginning and deeper into the weirder moments that transpire. Writer Joe Badon embraces this surreal narrative with his directorial approach too. Sharp cuts and loose camerawork capture how shattering Eliza’s break is. The film is clearly made on a budget, but in a way that feels like it drove the production to greater things than held it back. A packed aesthetic, stuffed with detail and symbology, builds into an abstract, rather experimental piece. Altogether it’s an approach that amplifies the work of Gregg, giving her a great platform to showcase her talents. The God Inside My Ear marks her and Badon as talent to keep an eye on.
