The anthology has become a staple, not only of the horror genre, but of Pigeon Shrine FrightFest. Each year the festival sneaks at least one or two into the programme and this year’s offering is Parker Brennon’s Hauntology.
Whereas most anthology based films see several filmmakers come together to create a series of spooky shorts, Hauntology is Brennon’s vision alone. The use of one singular voice worked for The Mortuary Collection and Hauntology shares some similar vibes. Whilst The Mortuary Collection was very stylised and Gothic in presentation, Hauntology keeps its appearance more naturalistic. The approach helps sell the feeling of friends, or in this case, sisters, telling ghost stories. Rather than make everything deliberately creepy, Brennan allows the tales to speak for themselves, enabling the ideas to seep under your skin. Whilst this move results in a lack of immediate scares, it ensures some food for thought later.
A common issue within anthology stories is that the connective tissue is weak. Finding a reason to transition from story to story often troubles filmmakers, but Brennon’s approach is simple and effective. Hauntology begins with Jazmin (Samantha Russell) tracking down her younger sister, Venus (Jaidyn Triplett). Venus is determined to run away from their awful parents, but Jazmin implores her to take a trip around their small Ohio town before committing to her decision. At each stop across town, Jazmin shares some troubling history. Each story interconnecting in some capacity to the sister’s lineage means that the climax of their section also works as a cohesive completion of each of Jazmin’s stories. This approach works far better than those seen in most anthology films.
In terms of the stories told, Hauntology forgoes the idea of throwing a million different styles of horror onto the screen. Anthology films often try to cover as many sub-genres of horror as possible in order to please a wider section of the audience. The hook of Hauntology’s macabre tales are not their different genre styles, but instead the inclusion of a different strand of queer cinema. Paranormal elements are brought into each segment, but the visual presentation remains essentially the same from story to story. This inevitably means however, that should the viewer not get on with the opening story, it’s likely that Hauntology isn’t for them. Nonetheless, anthologies should not have to rely on cheap tactics to trick viewers into watching. Less often provides more, and Hauntology is a great example of this.
Although Jazmin’s tales all have a similar feel to them, the stories are varied enough to keep the viewer entertained. They cover a trans woman’s spell coming with unexpected side effects, a married couple torn apart by a ghost, bloody revenge from beyond the grave, and the creepy happenings of a haunted house. Each is different enough to draw the viewer in, the connective tissue between them all slowly being revealed. As the stories progress these threads bind more tightly and it becomes fun for the viewer to try and piece together exactly what the full story will be once all the elements have been fully woven together.
Unlike other anthologies, Hauntology retains the same level of quality throughout. Most other films within the subgenre have one or two sections that standout over the others. In Hauntology a case can be made for all of them as none are trying to outshine the others. Those expecting a bloody affair should be forewarned that Hauntology relies more on the weight of the stories it presents to impact the viewer. As such, Hauntology ends up feeling like a more grown-up and queer variation of 90s television shows Eerie, Indiana and Are You Afraid of the Dark? The likeness of Hauntology to these existing properties is so striking that it is sure to be a hit for anyone who grew up on a healthy diet of gentle scares.
Hauntology
Summary
Hauntology deviates from several anthology conventions, producing a more cohesive collection of stories.
Hauntology was reviewed at Pigeon Shrine FrightFest 2024.
