I had the chance to talk to Can Evrenol, the director of Baskin and the new film HOUSEWIFE, which is available on VOD, Digital and DVD on October 2, 2018 from RLJE Films. Housewife is an insane blend of Italian style horror, gore cinema, and a provocative breakdown of family dynamics. The film is high recommended.
Here is the official synopsis: In HOUSEWIFE, Holly (Poidatz) has been haunted by a horrific childhood trauma for twenty years and struggles with vivid, disturbing nightmares that leave her detached and unable to live a normal life. Then an old friend recommends Holly meet with charismatic cult leader Bruce O’Hara (Sakurai), and she is led on a twisted journey of waking dreams that will begin to unravel the fabric of reality and reveal the truth about Holly’s family… a terrifying destiny.
Housewife is such a different film from Baskin. Can you talk about how that film eventually led to Housewife?
After my first feature film Baskin, I had enough of the over-macho vibe to talk about the sexuality and state of mind of the society I live in. People were happy with Baskin, and I basicly got a free card to do whatever I want in my next film too:) I wanted it to be dream logic, offbeat and about family, again. Almost a fenale version of Baskin. I went back to this short film I made in 201; “To My Mother and Father” and I injected that into this next movie.
The look of the film is so distinct. It’s familiar, but original in its execution. Can you talk about what influenced the look, particularly the colors, used in the film?
I had to shoot this film with a DOP that I had spent very little time with. Together we watched Amer (2007), and Angst (1983). I wanted to inject my DOP with the color and frame fetishism of Amer, and the unconvential aesthetic of Angst. The result could have been better and crazier. We tried our best.
The actors in the film seem like they were game for whatever madness you threw their way. Can you talk about how the cast came together for this film?
Both for Baskin and Housewife I couldnt afford “big” actors. So I went for talented actors that I can be friends with, that I can relate to. People that I can sincerely say that I am not exactly sure where I want to go. Let’s find it together! I was so super happy and lucky that Clémentine Poidatz and David Sakurai came on board. We spent all our budget to them! No not really :) But some.
For a film that packs so much macabre information throughout its runtime, the pace moves along effortlessly. Was it difficult to keep the film so tight with everything you wanted to convey?
It was a crazy phase of my life to try to find that pace. I am delighted that you love it. Some people hate it. And I know that’s a part of the game. When you make a film this personal and anti mainstream, and a bit over your head in terms of budget and crew, it becomes a very hazy and intangible puzzle of a nightmare. The actors and our editor Osman Bayraktaroglu were my biggest helpers on this crazy acid trip of a journey. And our composer Anton Maovvi!
Was it a difficult decision to shoot the film in English?
It was something I desired when I was a little kid growing up with American movies. Making a horror film in my own country, in a universal language. Like spaghetti western.
Much like Baskin, this is a very gory film. Are you into gore when you go to watch horror films, as a viewer?
Yes. Gore cinema was one of my main veins to find my voice in life :) I know it sounds a bit over the top, but it’s true. But I always like opposite hybrids and mixing diverse styles, staying away from blood-n-tits video-nasty mentality.
Was there any real life influence for the cult leader in the film?
All the televangelists, and the new age healer preachers I spent watching on YouTube for hours like a zombie. I am just attracted to their music and love to hate them. Interestingly, Bruce O’Hara turned out to be much more of a “good guy” then what I initially had in mind.
I love the score of the film. How did that come together for the film?
Anton Maiovvi saved my ass just more than a week or two before the deadline I had. He came in, and we quickly realized we both lpve the same kind of film music that I precisely wanted for this film. Our main inspirations were Stendahl Syndrome theme, some Badalamenti and Carpenter! and some more. Anton nailed it! I am forever grateful.
With a lot of complex themes at play in Housewife, what do you hope the audience takes away from the film?
A piece of my lifelong nightmares.
What’s next for you as a filmmaker?
Horror anthology The Field Guide To Evil is screening at festivals. I directed the segment; “Haunted by Al Karisi, The Childbirth Djinn”. I am currently on post production of my 3rd feature film; “Girl With No Mouth” a journey film about 4 kids in a wasteland.
HOUSEWIFE is available on VOD, Digital and DVD on October 2, 2018 from RLJE Films
