At Tribeca2022, TravisStevens' 'A Wounded Fawn' delivers the wrath of the furies against joshruben in a decadent horror, wrapped in Greek mythology. Read our review:
Drenched in blood and cloaked in the fine drapery of Greek mythology, Travis Stevens’ indie horror feature A Wounded Fawn sweeps into the Tribeca with an unexpected twist on a familiar plot line. Stevens manages to make a stripped-down, modest set of locations with a small, intimate cast feel like a decadent descent into the madness and mysticism that movie-making is capable of conjuring up.
COLLIDER VIDEO OF THE DAY Like Mimi Cave’s meat-cute Fresh, Bruce lures in the sweet, unsuspecting museum curator Meredith with his boy-next-door looks and charm, and invites her on a weekend getaway to his secluded art-deco cabin. Little does she know that lurking beneath that disarming appearance is a sinister and twisted man, who believes that a red owl is compelling him to kill beautiful women.
By design, Ruben is required to do a lot of the heavy lifting throughout the film, and he rises to meet the challenge at every turn. He spends long swaths of time tormented by seen—and unseen specters—and the twisted madness that overtakes him is almost too believable. Gone is the goofy man that we first met in College Humor sketches in the mid-aughts, he has been replaced with a bonafide actor who can tap into madness almost as flawlessly as the likes of The Boys’ Antony Starr.
Stevens’ stylistic choices with the film only add to the vibrant atmosphere; the lo-fi, grainy feel creates a sort of 70s aesthetic that meshes nicely with the otherworldly descent into Bruce’s twisted psyche and the goddesses that enact their justice against him.
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