The Secret of Sinchanee

Moody indie film that simmers all the way through to the end. I loved the overall "lived-in" feeling of the film. The tow shop that the main character works at was one of my favorite settings. Also, the casting and the performances from the actors all played very real and they all looked like they fit their respective roles. I also thought it was interesting how the main protagonist at the tow shop becomes the antagonist halfway through the film - and the female detective pursuing him becomes the protagonist. That's an effective switch in the writing that I thought worked well and gave the audience a bit of reprieve from the intensity as well as the slow build to the end. I saw that this film premiered at the Raindance Film Festival in the UK in the "Screamdance" section and went on to win Best Writer, Best Film Score, and was Nominated for Best Cinematography and Best Feature Film Fiction at various international film festivals. I think that was well deserved given the solid filmmaking here.

Written and directed by lead actor Steven Grayhm, an industrial tow truck driver suffering from insomnia returns to his childhood home after the untimely death of his father, to discover that a paranormal presence has been living in the house and haunting the sacred land it was built on. Also starring: Laila Lockhart Kraner, Rudy Reyes, Tamara Austin, Chris Neville, Margarita Reyes, Mark Oliver, Kathleen Kenny and Nate Boyer.

The Secret of Sinchanee opens with a subtle strength, building a classic supernatural and mysterious atmosphere, moving slowly but purposefully. It kicks off its edge of peril, bringing us down a path to reveal dark secrets and this new land's ancient truths.

The writer didn't give up on this narrative, but it seems bits of traditional blood ad gore were thrown in to please every one. Still, this is one worth putting down your phone for. In fact it's necessary. If you allow the storyline to carry and transport you to an uncolonized mindset, give patience to the spirit walk this movie requires, you'll be well rewarded.

Ever get a headache after watching a movie because you had a hard time following it? This is one of those movies. I understand that in Horror movies, dream scenes can be a good source of jump scares. Also, psychotic episodes and visions are good, too. HOWEVER, If a movie has too much of either and you can't tell what's real and what's not...there's when the headaches begin. I like the ex-husband and ex-wife working together part of the story...THAT I can follow. Adds some grounding to the story. The rest I mostly understood, but after the end....headache. One time watch, folks. Peace.

I saw this film on the silver screen at the Raindance Film Festival last year in the UK and was chuffed to find it online to rent this holiday season (it has proper Christmas themes so it works great for those holiday thrills). This film had won several awards before it arrived at Raindance on the festival circuit, so there was a lot of anticipation for it to come to the Genesis Theater in London. Attending the Q&A after the screening also provided a lot of insight into filmmaker Steven Grayhm's challenging, yet rewarding process of bringing this film to the screen. To be fair, this special little (big) film is nothing short of ambitious. Scary at times and thoughtful at others - but at its very best - this film is original! As most have stated, the third act tends to tie up nicely - giving the audience a satisfying ending - and an unexpected horror fan shoutout in the form of a CODA at the end credits. The cinematography is gorgeous, with many unique camera angles and shots. The musical score is beautiful, and at one point at the UK screening, it made some of us in the audience incredibly emotional. A second watch at home and it was just as intense. The score at times sounds like something from the late, great Jóhann Jóhannsson. This is simply a brilliant little independent film that I would recommend to most anyone looking for something unique and different.

I thought that the filmmaker did a really good job handling all of the difficult themes and tropes of childhood trauma and the stereotypes that have affected indigenous people. A friend in my community told me about this film, and I am really glad I saw it and proud to see us being represented in this way.