Resolution – Cabin of Death (2012)

Resolution – Cabin of Death: Directed by Justin Benson, Aaron Moorhead. With Peter Cilella, Vinny Curran, Emily Montague, Kurt David Anderson. A man imprisons his estranged junkie friend in an isolated cabin in the boonies of San Diego to force him through a week of sobriety, but the events of that week are being mysteriously manipulated.

“In spite of some worn clichés -mysterious found footage, missing researchers, and a mystic medicine cabin obligatorily set on an Indian reservation, with Resolution, independent writer/director Justin Benson brings us a breath of fresh air. The film is technically adept on its small budget, and presents a real genre-bender of a plot. Resolution builds slowly as a crime drama, becomes a psychological suspension, then morphs into a puzzler riddled with paradoxes. It releases in a brief climax of occult horror.u003cbr/u003eu003cbr/u003eIn the story, yuppie Michael (Peter Cilella) travels to a remote squattersu0026#39; shack, where his addict friend Chris (Vinny Curran), bristling with firearms and contraband, has holed up, resolved to kill himself with drugs. Michael restrains Chris, and forces him to withdraw u0026quot;cold-turkeyu0026quot; over the course of a week.u003cbr/u003eu003cbr/u003eA progression of weirdos make the scene. Chrisu0026#39;s low-life cohorts (Kurt David Anderson and Kyler Meacham) drop in, demanding drugs. A tightly-wired Native American property owner (Zahn McClarnon) and his menacing gang show up to evict the occupants. A scheming real estate developer (Josh Higgins) creeps in, mistaking Michael and Chris for the deed-holders, and a doomsday religious cult is engaging in shenanigans a little too nearby for comfort.u003cbr/u003eu003cbr/u003eMichael strives to maintain control over the situation to buy enough time to get Chris straightened out, and back to civilization and rehab. Despite the threat posed by oddball interlopers, the real tension is yet to come.u003cbr/u003eu003cbr/u003eSomeone…or some THING is watching -and recording everything Michael and Chris do. But how? The surveillance indicates a presence that looms closer and closer, yet Michael canu0026#39;t detect the observer.u003cbr/u003eu003cbr/u003eLooking for clues, Micheal discovers strange footage shot by a missing anthropology team, then locates a laconic neighbor, Bryon (Bill Oberst Jr.), with an uncomfortably unorthodox existential philosophy. From here the story plunges into perplexing paradoxes. Chrisu0026#39;s sleazy drug buddies and the landowner converge for a showdown. Mind-bending events knock Mike and Chris away from objective reality and any sense of control over their destinies.u003cbr/u003eu003cbr/u003eResolution is talky, but intriguing. The long-winded plot is better suited for an hour short. Aside from establishing an initial setting and circumstances, the first half of the film doesnu0026#39;t bear vital relation to the engaging concepts of the second. Itu0026#39;s still pretty good. Unsettling developments keep us watching. Plot twists reveal a honeycomb of passages down which to venture. Rather than choose one of them and proceed, the filmmakers offer a twisted experience based on the fact that these alternate routes exist.u003cbr/u003eu003cbr/u003ePart of the fun of Resolution is thinking about the various possibilities and what they mean. In our minds, we DO pursue them, trying to predict the outcome, but just when we think we know whatu0026#39;s going to happen, Resolution throws us a new twist. Throughout it all ripples a nerve-jarring undercurrent of menace, indeterminate, and incipient. Mike and Chrisu0026#39;s safe return to the outside world is increasingly unfeasible.u003cbr/u003eu003cbr/u003eThereu0026#39;s some subtle cinematic artistry in Resolution which reinforces the exposition. In the scene in which Michael is conversing with Byron, Byron discusses his views about narrative and story. As he explains to Michael, Byron holds a mirror. At first, the mirror is angled so that Michealu0026#39;s reflection blends with Byronu0026#39;s face. The effect is to project Byron and Micheal as melded together, depicting a dual entity. But Michael cannot see it. Only we can see it.u003cbr/u003eu003cbr/u003eByron angles the mirror so that we see another mirror on the wall behind Michael, producing the illusion of endless repetition. It illustrates the concept of how a painter records a scene. There is the scene, and the painter painting it. But there is a larger scene. For us to see the painter painting the scene, there must be another painter, painting the painter painting the scene… and so on to infinity. This is a pivotal moment in the film. Resolution carries distinct, though not fully developed sub-themes about the evolution and structure of folklore, myth and story, and these are tied into the paradoxes.u003cbr/u003eu003cbr/u003eFilmed in a half-completed lodge under construction, illuminated by hook lamps, and without background music, intimate camera-work increases a sense of realism, almost like seeing a documentary. The technique is effective because Resolution turns out to be all about deconstruction and the plastic nature of reality. By the time we realize this, weu0026#39;ve accepted the actuality of whatu0026#39;s transpired, only to have the drop sheet yanked out from under our feet.”