From the minds of Adam Brooks (Producer) and Mathew Kennedy (Director), who made such micro-budget features like Manborg and Father’s Day, their quirky vision for cinema will be followed up by The Editor which will premiere at Toronto International Film Festival early September. Here is a preview of what you can expect by film reviewer and writer for TIFF, Colin Geddes:
Once a revered master, film editor Rey Ciso (Brooks, doing his best Franco Nero) lost four fingers on his right hand due to his arrogance. Now equipped with a clumsy wooden prosthetic, he’s been reduced to slaving like a dog in the cinematic sweatshops of 1970s Italy. When actors from the film he’s editing are brutally murdered, Rey is the prime suspect. With a persistent detective (Kennedy) hot on his trail and a handsome, knife-wielding actor (Sweeney) always nearby, Rey must fight to clear his name.
Imitating giallo‘s inimitable tone and texture through dramatic zooms, off-kilter dubbing and, of course, heavy-handed psycho-sexual eroticism, writer-director duo Brooks and Kennedy have maximized their modest budget to mix a heady cocktail that’s equal parts loving tribute and outrageous parody.
Bolstered by turns from cult faves Udo Kier, American Mary‘s Tristan Risk, and Paz de la Huerta (the high-camp Joan Crawford of twenty-first-century horror cinema), The Editor is a riddle wrapped in an enigma, baked into a lasagna, with enough Timbits on the side to delight any midnight-movie devotee. Get ready for straight razors, aerobic dancers, wide lapels, axes, weird sex, tarantulas, and, of course, splices galore.
And, from the creators themselves, we have here their testimonial on what inspired them when creating this film:
The Editor is ostensibly a film about the descent into madness. When Rey begins to see the negative world, it is easy to assume that he is going insane. However, what would any individual do when he begins to realize that he is nothing more than a character in a film. The Editor is based in the universe of the Italian giallo thrillers made popular by Dario Argento and Lucio Fulci in the 1970s and 80s. It will feature super saturated colours, late 70s/early 80s hairstyles and costuming and will be shot without sound. All dialogue in the film will be recorded once principal photography is completed, and laid-in by the sound editor, in order to pay true homage to the genre. Inspiration for the film will be drawn from such films as Tenebre (1982), Inferno (1980), Suspiria (1977) and Hitch-Hike (1977).
I can see the moody Dario Argento vibe in the trailer which you can view here: