WHERE THE DOGS DIVIDE HER

Those who don't care for being spoon-fed by the conventions of mainstream storytelling will no doubt find something to sing about in this ambitious debut feature from the Rutley brothers.

Likening itself to ERASERHEAD and early Lars von Trier, this film pays no heed to those who want their hands held throughout the plot's unfurling ... and so, it is quite difficult to synopsise in review form.

After some deliberation, then, I've decided to take the approach - for the first time on this site, I hasten to add - to let the press release describe the story for me:

"... a glimpse into the nightmare world of an unborn child. As the child dreams, a nameless stranger sits in a bathroom, his hands bloodied and trembling as he ponders a double murder he has no memory of committing.

This amnesiac has no known identity and in his efforts to find his true self, he is split in three separate components (three inner faces of his tormented psyche) as he begins to unearth a horrifying family secret surrounding the unsolved violent deaths of his victims. But before he can come to terms with his crimes and escape the prison of the mind, first the killer must make contact with ghosts from a long-forgotten past: shadowy souls whose only purpose is to lure others into their hellish trap".

Now, if that all sounds a little difficult to comprehend, it does a better job of translating the action of this fearless debut than I could've done. I'd have said "a Nine Inch Nails promo video, extended to 108 minutes, filled with constant aural and visual delights, and a plot that rarely enlightens but quietly compels regardless".

Beginning with lullaby music and a child's colourful mobile gently rotating, the film then cuts to the dishevelled lead (Jon Stoley) staring at himself in the bathroom mirror. Dreamlike from the start, everything appears to be dark and twisted despite nothing overtly sinister being presented as the man simply grooms himself with gel and a flick-comb.

But visions of a white porcelain sink being soaked in blood are not only visually striking - they're jarring, too. We swiftly realise that something bad has either happened, or is about to. Or both!

The first third of WHERE THE DOGS DIVIDE HER concentrates on the man investigating his own recent past, unearthing seemingly innocuous but clearly troubling items as he crawls from room to room in an anonymous dwelling, occasionally barking back at the distorted voices in his head. What relevance do the creepy kid's dolls and the gas mask have? What does the man mean when he protests "you're all dead - I made sure!"? Well, that's for me to know and you to find out.

Only ... if you do find out, would you please let me know your opinion? I don't really know what I know anymore ...

What I do know is that this film, directed by Martin Rutley from a screenplay by his brother Andrew, is a triumph of production design. Shot on HD and photographed by the clearly talented Jake Lyons, the film looks extremely cinematic and feels visually - in a good way - like a product of the 70s or early 80s.

In terms of visuals, I identified many points of reference. The most obvious are the ones that have already been given in the press blurb: Lynch, Andrei Tarkovsky and von Trier. But try not to see Cronenberg in there too, or DARK CITY, or MEMENTO, or HARDWARE. The film recalls all of these and more at certain moments; full credit to it then, for rarely appearing derivative.

Thematically it touches upon guilt, loss and justice - at least, that's what I took from it - and storywise the mystery does definitely draw you in. Clues appear on screen in a maddeningly teasing fashion (slogans scrawled backwards on a window; things scribbled onto walls; titbits revealed via hazy narration or distorted flashbacks). As I say though, lazy viewers brought up on convenience food horrors such as HOSTEL are going to tire of this within minutes.

There's very little dialogue in the film and that's perhaps not a bad thing. Stoley, bless him, looks the part and dominates most scenes. But he falters when he has to speak - he's much more effective when he's seen but not heard. Having said that, he virtually carries the film.

WHERE THE DOGS DIVIDE HER benefits from a nice sound design throughout. The score is great too, as stunning as the visuals.

Occasionally gory, frequently frustrating but consistently interesting and - of course - beautiful, this is a very nightmarish, surreal and arty addition to the post-Millennial horror cycle. At 108 minutes in length it is too long but, that aside, it's very good. If you can take the arthouse allusions.

The Rutleys' film was provided to SGM on a self-made screener disc of extremely professional standard, in its own keepcase with cover.

The film was presented in a very attractive 16x9 transfer with strong colours, untroubled blacks and sharp images.

English 2.0 audio was clean and clear throughout.

Static menus included a scene-selection menu allowing access to the film via 10 chapters.

I'd like to see WHERE THE DOGS DIVIDE HER get a legit release. Pretentious title aside, it's a thought-provoking piece that successfully marks the Rutley brothers out as talents to watch out for in future.

For more information on this challenging but rewarding art-horror film, visit www.hungercultfilms.com.

Review by Stuart Willis