Prepare to feel all kinds of nostalgic feelings for both the early 2000s and Mini-DV tapes in For Roger, an unusual hybrid of mumblecore, indie drama, and found footage, with the added extra of a masked monster. Presenting a very different take on the concept of a horror film, For Roger is directed by newcomer Aaron Bartuska and proves them to be an intriguing new voice. It stars a cluster of Bartuska’s friends who also happen to have a passion for acting; the story unfolds within the confines of a creepy cabin in the woods. The cabin was the holiday location of choice for Roger (Michael Andrusiewicz) and his recently deceased girlfriend Clara (Jenna Gibilisco). Still mourning her loss, Roger decides to take one more trip to the old haunt. Armed with a collection of mini DV tapes and a camcorder, he holes up and watches tape after tape of their time away and takes a trip down memory lane. Watching the footage back, Roger is confronted by some stark realisations about his relationship, and then he discovers that their time alone was being observed by a sinister watcher (Nicholas Paparo). A watcher who may still be waiting for Roger.
For Roger has some interesting visual choices. Roger spends his days and nights pouring through tapes of better times between him and Clara, all are Mini-DV tapes and so the footage is in the classic 4:3 aspect ratio. Not content to merely alter the appearance or ratio of footage, Bartuska actually shot on the DV format. It’s a simple way to maintain authenticity whilst stirring up oddly nostalgic feelings. There’s something about hearing that super loud whirring of the tape being inserted or ejected that transports you back to that era. The restricted choice of ratio also works in an unexpected way. Although in a tighter frame, the eye is constantly drawn to the edges of it. With little in the way of traditional horror the paranoia of the viewer’s knowledge that they are watching a film tagged as the genre is likely the main fuel for this, but it works exceptionally well at creating drama and unease.
Outside of the frame rate, Bartuska makes some interesting choices in how the scenes are edited together. The young director isn’t afraid to let a scene breathe. This is none more evident than in Roger’s initial drive down to the cabin. Set in pitch black, the camera looks out of the windscreen from the backseat, creepy trees casting eerie silhouettes. There’s something uneasy about travelling through winding woodland country roads in the dark and Bartuska captures that apprehensive feeling of not knowing what might suddenly appear in front of you effectively.
In terms of tone, For Roger seems to fall into a similar category to the brilliant After Midnight, the two pointing to a potential new strand of horror that feels more like a Linklater relationship than a terror-filled ride. It’s not a new sub-genre that everyone will get on board with, but there is something very alluring about exploring the genre through these minds. Not everything has to be demons and gore; sometimes it is the ghosts of former selves and decisions that create the most horrors.
For Roger
Summary
An intriguing constriction, For Roger has us very curious at what Bartuska dreams up next.
For Roger was reviewed at Grimmfest 2021.
