[L-R] Alexis Vincent-Wolfe as Jesse, Tasiana Shirley as Maika, and Nalajoss Ellsworth as Uki in the Sci-Fi/Thriller, SLASH BACK, an RLJE Films and Shudder release. Photo courtesy of RLJE Films and Shudder.
Maika, Jesse, Uki, and Leena are a group of young friends in Pangnirtung (Pang for short), a tiny, predominantly Inuit fishing village on the remote shore of the Canadian Nunavut territory. Their existence is uneventful, at least by teen-girl standards: texting, hanging out listlessly by the playground, chatting about the one cute boy at their school, and occasionally sneaking off in their parents’ boats to explore the vast wilderness in their backyard. It is on one of these expeditions that the girls are charged by a polar bear, which they only barely manage to subdue before it makes a meal of fifth-grade tag-along Aju. This would be terrifying in any event, of course, but it’s clear that there’s something not right about this bear: it moves all wrong, it’s face is strangely saggy, and it belches a black liquid that’s impossible to wash off. When rebellious Uki returns to the scene, she sees not only their “fucked-up bear” (as well as a similarly fucked-up caribou and arctic fox), but an enormous, fleshy spaceship parked in the valley. Inevitably, the creatures follow Uki back to Peng and soon begin assuming human hosts, leaving the fate of Nunavut– and perhaps the world– the hands of these unlikely heroines.
A still in the Sci-Fi/Thriller, SLASH BACK, an RLJE Films and Shudder release. Photo courtesy of RLJE Films and Shudder.
Slash/Back is the first feature from Innuksuk (who has previously helmed a string of short films, in addition to some virtual reality work and writing for Marvel Comics), and it shows at times; it was clearly made on a shoestring, and Innuksuk and co-writer Ryan Cavan occasionally fall into the familiar low-budget trap of filling their dialogue with more words than can fit in their young actors’ mouths. But while the performances are occasionally unpolished, they’re also the film’s greatest asset. When one hears the phrase “teen horror movie,” the image that generally comes to mind is one of model-pretty twentysomethings trying to pass themselves off as people who don’t yet have driver’s licenses. The leads of Slash/Back, on the other hand, range in age from 14 to 17 years old, with young Aju clocking in at just 11. Though their line readings are occasionally stilted, they feel like real kids, because they are. The result is a teen movie far more natural and intimate than just about anything Hollywood is capable of turning out.
Of course, this is not the only way in which the cast of Slash/Back is unique. Innuksuk herself grew up in Nunavut, and the film clearly draws from her experiences growing up in a contemporary Inuit community. I can’t pretend to be familiar with all of the cultural experiences referenced by the characters, the film has such a lived-in quality that I had little trouble understanding them. Though Peng is clearly a low-income community, and the kids are periodically hassled by an implicitly racist white cop (who, thankfully and inevitably, meets a grisly end), this is not a tale of indigenous suffering, and while the girls roll their eyes at some of their parents’ and grandparents’ traditions, it’s clear they’re proud of their heritage. It’s more than a little embarrassing that the recent uptick in indigenous-centered stories feels like a novelty in 2022, but it’s a welcome development, and will hopefully only increase from here.
Nalajoss Ellsworth as Uki in the Sci-Fi/Thriller, SLASH BACK, an RLJE Films and Shudder release. Photo courtesy of RLJE Films and Shudder.
Of course, as charming as Slash/Back’s human drama is, it is a monster movie, and I’m pleased to report that it’s as winning on that front as it is a teen hangout movie. The principal alien’s human form is realized by contortionist and creature performer “Twisty” Troy James (who is quickly making a name for himself as the Andy Serkis of practical effects), gyrating his seemingly boneless frame and wearing a distorted, Possessor-style mask of his victims. The effect is simple but eerily effective, essentially tapping into the Uncanny Valley centers of our brains through strictly manual means. The CGI creatures are, understandably, less effective, but Innuksuk cleverly plays this to her favor; the animals are supposed to look not-quite-right, so it’s only natural that they be a little janky. Throughout, Innuksuk and cinematographer Guy Godfree know where to put the camera, shooting closed-quarters action scenes and sweeping vistas with equal clarity. It’s a marvel of lean indie filmmaking, and I’m excited to see what Innuksuk does next.
To be sure, you’re likely to see slicker monster movies this Halloween season, but you may not see many more likable. Innuksuk and her talented young stars have crafted a heartfelt and perfectly thrilling tale of friendship, Inuit culture, and, yes, grotesque monsters from outer space, with some gorgeous location photography and an immersive score by indigenous synth duo The Halluci Nation (with prominent vocals by throatsinging superstar Tanya Tagaq). It won’t be a blockbuster at the box office, but I suspect I’ll smile every time it crosses my mind, and that, to my mind, is the ideal outcome for a scrappy indie creature feature.
Slash/Back
2022
dir. Nyla Innuksuk
86 min.
Screens 10/21-10/26 @ Brattle Theatre – click here for showtimes and ticket info
