If you're even remotely familiar with the work of Steve Hermann, then a film like his latest film Disremembered shouldn't be a surprise. An award-winning filmmaker from the Chicago area, Hermann is a longtime indie author who took to filmmaking as a way of bringing his stories even more to life. Hermann has also been a longtime anti-bullying advocate, a writer and filmmaker who's unafraid of exploring dark realities and truths. This may never have been more true than in Disremembered, a film centered around Samantha (played as a teen by newcomer Olivia Tracy and as an adult by frequent Hermann collaborator Angel Nichole Bradford).
As a teen, Samantha suffered trauma from serious assaults. She had BFF Veronica (Al Vitucci), who stood by her until one day vanishing. Flash forward and the adult Samantha has met Becca (Morrigan Thompson), whom she becomes convinced is really Veronica. Increasingly determined to make "Veronica" remember their past, Samantha's past traumas begin to profoundly impact herself and everyone around her.
There's little denying that Disremembered is an intensely jarring and disturbing film that likely deserves a wee bit of a trigger warning for abuse/violence survivors who struggle with PTSD. For those further along in the healing journey, myself included, Disremembered may prove to be almost a cathartic experience in a dark way. While the storylines are vastly different, I kept thinking of my own experiences watching I Spit On Your Grave, a film many consider to have no redeeming value yet a film for which I continue to advocate as a far more brilliant work than it's given credit.
The same is true here. While Disremembered isn't nearly as graphic as I Spit On Your Grave, it's a graphic and emotionally raw experience that dares to explore the intensity of trauma without compromise and the truth of how we can, and often do, treat one another.
As is always true, Bradford soars as the adult Samantha with a smoldering bravado that makes you anxious in nearly every moment. It's quite the revelatory performance in that she draws us to Samantha no matter how outrageous her behavior becomes. It's an uncompromising performance that may very well be Bradford's best work yet.
Newcomer Olivia Tracy, as the younger Samantha, also deserves major kudos for a debut that radiates with vulnerability and raw charismatic presence. She makes us feel everything we're watching and it's impossible to forget.
I was equally blown away by Morrigan Thompson's turn as Becca, who could have so easily turned in a one-note character here but adds layer upon layer. Supporting players Beth Metcalf, Al Vitucci, and Casey Wayne Hupp all also really impress. As usual, Hermann has assembled quite the ensemble.
Ashley Hefner's lensing for the film takes us beyond observers of what's unfolding and practically immerses us in it. Original music by Edward Grant complements the film's horror rhythms quite nicely. Indeed, while there's a meaningful story being told here make no mistake that this is most definitely a horror film.
Disremembered is likely the kind of film you'll want to discuss as the closing credits roll. Co-written by Hermann with Zackary Akers, Disremembered is thought-provoking, meaningful horror and, again I must say, that if you have a trauma background you may want watch the film with a companion aware of your past.
Because, despite my trigger warning of sorts, Disremembered is most certainly a film that should be seen.
Destined to be popular on the indie and microcinema fest circuit, Disremembered is the darkest film yet from the folks at Acrostar and yet also one you'll keep thinking about long after the closing credits.
Written by Richard Propes
The Independent Critic
