Acting in a horror film can be a curse for some performers.
For Bowie Davidson she has become defined by her role in a slasher film, and while it brings her fan acclaim at conventions it isn’t bringing in more offers.
After one last rejection Bowie sets out to make her own movie, but she doesn’t inform those in her path that they could become targets of a newfound bloodlust.
Faceless After Dark provides a commentary on toxic fandom although it’s unclear whether it is condoning Bowie’s actions. You’re never sure if you should be on her side.
Having said this, Bowie has the worst fans, who think its fun to break into her home and fake threaten her. Maybe they all had it coming. Again though, given the conservative view of horror fans as weirdos and murderers, does this reinforce this archaic view?
Faceless After Dark is more of a case study than an out and out slasher film, but this doesn’t stretch beyond a surface level. We never feel close to Bowie, so it’s harder to relate to her struggles. Before she takes up her new ‘film’ it seems she mildly annoyed rather than full-blown snapped, beyond help.
The finale does try to salvage the film with a meta slant but I fear many will have checked out before then.
Faceless After Dark screens as part of Frightfest 2023.
Bloody Flicks 