Actor Devanny Pinn shifts into directing with the chilling true crime serial killer thriller Black Mass. The film forms part of this year’s Pigeon Shrine FrightFest and looks like a famous date in history from a very different angle. The date, or more accurately dates, in question are the 14th and 15th January 1978. Fans of American serial killers and true crime will understand the significance of the dates, those less keyed in will find themselves in for a horrible surprise.
Set over the course of this historic twenty-four hour period, Black Mass joins a nameless, faceless man as he stalks a sorority house. Devanny Pinn keeps the camera with this anonymous shape, referenced only as ‘The Entity’ in the credits. This restrictive angle places the audience into the role of complicit accomplice, a scenario which some will love, but others will hate. During its stalking, the figure encounters many women, snatching the briefest of conversations with them. That they are glimpsed so little means that the viewer doesn’t have a great deal of time to connect with the women on screen. Later on, when the events take a dark turn, this marriage to the entity becomes very uncomfortable. But these feelings are exactly what Pinn is trying to conjure. Black Mass is highlighting society’s fascination and obsession with killers.
Everyone, even those who do not follow serial killers too closely, are familiar with the likes of Charles Bronson and Ted Bundy. Ask those same people to name one of their victims, and they will struggle. Even some keen serial killer fanatics will draw a blank when asked the same question. For whatever reason, society is only bothered about remembering the perpetrator rather than their victims. It is a sorry state of affairs, and through Black Mass, Pinn confronts the viewer with their double standards. By making them live in the shoes of the subject of their fascination, Pinn highlights just how deplorable these people are. After hours of stalking, the entity enacts their plan and it is definitely not for the faint of heart.
As Black Mass shifts from voyeuristic endeavours to a more hands on approach, the tone shifts. What has already been a creepy and uncomfortable atmosphere morphs into an oppressive viewing space that leaves the viewer wishing to be anywhere else. The events onscreen are horrific and traumatic, made worse by their true story connections. After so much time spent with a wandering camera, flitting from future victim to future victim, the static shots presented land like a punch in the face. After these moments have passed, the truth of the identity of the killer is revealed, something that will shock those unfamiliar with the date or Florida location.
Devanny Pinn’s feature debut is cold and confronting. Her approach to the world of serial killers will not be to the tastes of everybody, but in telling the story this way she is consciously pushing for a response from the audience. Society’s obsession with killers at the expense of victims is cast into the spotlight with Pinn giving them exactly what they think they want. The result is a film that is difficult to watch, but that is entirely the point.
Black Mass
Summary
The audience is made to spend a day in the presence of a renowned serial killer in Devanny Pinn’s cold and confrontational take on one of history’s most notorious men.
Black Mass was reviewed at Pigeon Shrine FrightFest 2023.
