I grew up on a small farm in Texas, and so the idea of making movies seemed pretty remote. I found that I had a cinematic imagination. Chores like feeding cows, mowing fields and mending fences were all invested with cinematic flourish. I saw apocalypse-inducing machinery in large rusty tractors. I saw my ghost every day in the fading glass of an antique mirror. I imagined lens flares and tracking shots in all my labours. I’m grateful for the digital technology that makes it possible for people like me to make movies. I’d have no way forward if it wasn’t for digital.
There are these two sisters, Jorie and Kaidon, who travel deep into a forest for vacation. The woods allow them privacy while they try to reconnect. Years ago, they were driven apart by a dark secret. They’ve each been living a double life, like anyone with a secret must do. And now they’re exhausted with duplicity and want to be whole. They presume mutual forgiveness will break the spell they’ve been living under. But there’s a hidden power in the forest that measures life and death, and this power means to weigh the sister’s future against the dark crime of their past. This way of judgement is mysterious, but final. What happens to the sisters is like something out of folklore, or out of a nightmare. It’s unusual but thrilling.
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