Tribeca Film Festival – A rapid-fire Greek Mythology course opens writer-director Travis Stevens’ new horror film A WOUNDED FAWN. Megaera, Alecto the unceasing, and Tisiphone punisher of murderers are the subjects of a bronze sculpture being bid on by a gallery of onlookers. Among them are Bruce (Josh Ruben) and Kate (Malin Barr) who diligently work to acquire the piece for their client. Kate’s client wins the bid, but Bruce has further tricks up his sleeve. The cold-open leads to murder and a richly-paced pursuit that recalls the 70’s classics Don’t Look Now and The Wicker Man with its dreadful build. Co-written by Nathan Faudree A WOUNDED FAWN is practically staged surrealism while folding in Greek mythology for added depth resulting in a subversive take on the pious exploration of the killer’s sick mind. In short; Sometimes sickos are just that.

Bruce ultimately wins the auction for the coveted piece of bronze art and he flippantly stages it on a coffee table in his remote, yet posh cabin hours away from the city. He also happens to meet Meredith (Sarah Lind), a fellow art fanatic that catches his eye. The two make plans to retreat to Bruce’s artistic place in the woods. As the two are getting ready to head upstate for the weekend a black dog sprints by heralding that things aren’t exactly peachy. There are even more signs along the way as Bruce and Meredith traverse onward. It’s not much of a spoiler to say that Bruce has other plans that both include and exclude Meredith. Director Stevens’ has up to this point dotted the visual landscape with foreshadowing thanks to clever editing by him and Zach Clark. Then the deed is done and the worm turns. The film becomes an inverse of itself favoring surrealism over linear narrative. Bruce’s mere blips of mental fantasy take hold to drive him to his demise.

A WOUNDED FAWN is as much a film about a killer atoning for his sins as it is a loving homage to the pulpy, tangible era of 70’s horror that inspired it. Stevens knows what he is hoping to echo and he does a good job of it. We see Sonia Foltarz Production design and Taylor Barry’s art direction leaning into the blocky swaths of earthy colors along with blatant embellishments geared to accentuate the flecks and scratches of grindhouse sinew of celluloid. We also have Ksusha Genenfeld’s glorious photography that mimics 70’s era horror. It would also be a sacrilege had we not mentioned Vaaal‘s hyper-textural score that adds a key layer to the film.

While the style sells the idea, A WOUNDED FAWN is supported by a fiendish performance by Rueben as Bruce. His disarming charm only works to sell his sinister dark side. This also sells the idea that a man with this level of artistic understanding would ultimately be pursued by his conscience in artistic and metaphorical ways.

When all is said and done, A WOUNDED FAWN is a clever melding of horror and overt symbolism mixed with an homage to late 70’s-early 80’s horror. For the thinkers, this will care, for the horror fans, it will make them think. Fun for the whole family.

7 Out of 10