This piece was written during the 2023 WGA and SAG-AFTRA strikes. Without the labour of the writers and actors currently on strike, the show being covered here wouldn't exist.
Among the many anticipated international premieres at this year's FrightFest was Black Mold, a solo feature debut from writer/director John Pata, a slow-burn blend of body, mind and heart horror that digs into the deep dark heart of trauma and guilt and pulls out an ambitious – yet anticlimactic – single-location thriller
Photographers and urban explorers Brooke (Agnes Allbright) and Tanner (Andrew Bailes) take on their biggest assignment yet by entering a mysterious abandoned government facility known as Franklin Hill. Once inside, the pair discover that the dilapidated and eerie old building contains threats far bigger than just rats when an unhinged and violent squatter (Jeremy Holm) attacks them while screaming seemingly paranoid accusations. Trapped in the building as the hours draw on, a heavy haze of paranoia descends, sending the pair spiralling into a night of hallucinogenic horror where they see their memories and fears.
On the surface, Black Mold lays the groundwork for a supernatural haunted house thrill ride, but as the layers peel back to expose a traumatic core, the film evolves into something much more psychologically motivated. Pata has been open about his own struggles with depression and working through his mental health in therapy, making the metaphor of the eponymous mold and excavation of a creeping, all-encompassing darkness much more poignant.
Reflected in both the spectral manifestation of Brooke and Tanner's deepest fears, the theme of facing the ghosts of your past will be one that many audiences can surely relate to. However, those fatigued with a recent surge in ‘trauma horror' will find a familiar heavy-handedness to the overt allegories and flashbacks that doesn't tread new ground and threatens to strip Black Mold of any significant uniqueness (thankfully, a streak of playful humour provides welcome relief from the often-draining atmosphere without overstepping the boundary into silliness).
Stylistically, Black Mold is a visually stimulating watch, making full use of Franklin Hill and highlighting Pata's passion for ruins photography by elevating it from ‘just a set' to a more cavernous arena to play in. Much like his protagonists, it's clear that Pata is adept at framing a shot and, given that a common complaint of much modern horror is that darker scenes are poorly lit, Black Mold is beautifully lit, despite the natural dinginess of the setting.
Like Brooke and Tanner moving cautiously through the wreckage, Black Mold treads too tentatively through its runtime, leading a lean 90 minutes to feel longer than it needs to. A significant portion of the first act is dedicated to character development, which in itself leads to two solid and sympathetic performances from Albright and Bailes (the latter especially, at once personable and vulnerable and impossible not to root for) but also means that the adrenaline of a shocking cold open quickly fades into impatience. Add in a mostly dissatisfying ending, and Black Mold gets lost and bogged down in its own wheezy black haze.
Overall, Black Mold is a promising first feature for Pata, who clearly showcases technical competence, emotional intent and a knack for bringing fully fleshed and believable characters to life. Although Black Mold might not stand out as a particularly unforgettable entry in this year's FrightFest lineup, it nevertheless marks Pata as a horror director who's one to watch.
Black Mold had its international premiere at FrightFest 2023 on August 25.
