The Vicious, written and directed by Trevor Dillon and Ian Hock, presents us with a familiar set up—a family of naive city slickers on a road trip who happens upon a rural mansion looking for a place to spend the night. The young couple and their daughter (Brea Grant, Cameron Diskin, Olivia Knox) are apprehensive about stopping but against their better judgment they make their way to the front door of the seemingly uninhabited manor as their every move is tracked by the leering eyes of an imposing character (Eric Snow) waiting for them inside. They knock on the door and as it creaks open, they decide to enter uninvited. This makes for an uneasy encounter as the owner of the house (Time Winters) and his daughter (Chelle Denton) appear from out of nowhere on the balcony. The family is embarrassed about being caught breaking into the house but they’re assured that no offense has been taken as they’re enthusiastically, perhaps too enthusiastically, invited to spend the night.

The Vicious preys on those fears of being stranded out in the middle of nowhere at the mercy of outsiders separated from society much in the same vein of something like The Texas Chainsaw Massacre. Shot in black & white, what begins with a rich palette of soft greys is slowly crushed into a sea of black with stark highlights as the tension between the two parties starts to boil over. A moody and quiet short film, The Vicious does much of its storytelling through subtle physical cues and a score that explores the full breadth of textures it can elicit from a scant ensemble of violins and bass. A steady pizzicato underlies an anxious standoff to emulate a beating heart which then gives way to a restless onslaught of frenzied bowing as the truly insidious nature of this encounter is revealed. The performances are convincing and understated, particularly from Denton, whose hospitality grows increasingly strained as their guests seem unwilling to reciprocate in properly respecting the kindness they’ve been shown.

An unflinchingly unnerving, yet reserved portrayal of the collision of divergent and abhorrent cultures, The Vicious has left a strong impression on the festival scene. Among its accolades include awards at Horrible Imaginings, FilmQuest, and our very own Screaming Room festival held each year at Midsummer Scream, where it took home the audience award for the Art House Horror block. The premise may be a familiar one but with its strong sense of style and engaging characters, The Vicious makes the most of its limited run time.