Home Entertainment Review of the film “Panic Fest”: “Factories”

Review of the film “Panic Fest”: “Factories”


Starring: Robbie Banfitch, Angela Bosolis and Scott Shamel
Director: Robbie Banfitch
Rating: NR
Duration: 100 minutes

According to the San Francisco Gate, 1-2 people die each year in the Mahaw Desert, in part because Death Valley is located here. The iconic national park is known for its unforgivable heat, a record 134 degrees in 1913, and is the driest and has the lowest altitude on the North American continent. It seems that every fact concerning Death Valley, or even the Mojave Desert, is horrible in its own way. But a new reason to avoid those three million acres will be found on three camcorder memory cards.

The first memory card in “The Outwaters” shows us four people who aren’t necessarily brave enough to go to Death Valley for fun, but more or less have a legitimate reason. Robbie (Banfitch) is directing a music video for Michelle May. His brother and make-up artist are in tow, a man in one tent and a woman in the other. They don’t ignore any warning signs or ominous messages before heading to the hottest spot in the world. In fact, nothing will make them believe they are in danger until night falls on their first night in the desert.

In the middle of the night there is a roar, a roar. Not once, not twice, but again. It wakes everyone up, but no one sees the reason. Is this a car nearby? Is it a distant thunder from a thunderstorm? Is it otherworldly? After a few tense moments they ease their nerves by stopping at the thought that it is distant thunder, but the idea seems false. We see it on their faces when they return to their tents. Soon, however, it’s not the only disturbing thing that can happen, and when speech shit hits the fan, it’s sudden and scary.

“The Outwaters” spends a decent amount of time, arranging everything like pieces on a chessboard. While I assume most people will test their phones during this time, the setup is tricky because it seems realistic, natural and ultimately predictable. It’s like a warm sip of cocoa before shoving it into an icy lake. The second half of the film can only be described as bloody, awe-inspiring and ultimately nightmarish.

What made “The Blair Witch Project” a starting point for those in horror in 1999 can be seen again in “The Gulf.” Banfitch (who writes, directs, stars, edits and probably did almost everything else) does his best to lull us to safety before throwing us into the hellfire of his latest act, which is equally inexplicable and hard to watch. The simplicity of the pictures is never grotesque, but the ideas they convey take our minds to some painful places about what is potentially happening to Robbie and others.

As I mentioned earlier and more recently, the genre of found frames is complex, and very few find a unique and different way to tell a story, but “The Outwaters” feels almost like a renaissance, forcing forgetting the genre’s clichés as well as some other exciting ones. questions that arise when watching a found film. For example, why does Robbie keep shooting? In the darkness of the desert this is the only light he should see, and if he turns it off, what demons / monsters / aliens are waiting to pounce on? We grieve for him when he cries and moans with each new moment he captures on his digital PC. In the end, it seems that “The Outwaters” goes beyond the genre of found frames, as it becomes more vile and repulsive. This is definitely the closest thing to having someone’s nightmare come to life on screen.

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