It’s always refreshing to see a story play out on screen that is both entirely original in concept and then executed with incredible performances, which is exactly what we have with Faults. Director Riley Stearns’ new film is a conceptually adventurous black comedy about the world of cults, making for a metaphysical thriller that is captivating from the very start.
Claire (Mary Elizabeth Winstead) is a 28 year-old girl who believes she has found her “true home” within the mysterious world of cults, specifically the group Faults. Her desperate parents seek the help of Ansel Roth (Leland Orser), a dowdy motivational speaker who specializes in helping people escape such things, to rescue their daughter. With a hefty reward being offered, money he desperately needs to pay back his former manager, Ansel accepts their offer. A plan is then set to kidnap Claire and “de-program” her from her troubling and isolating experience, but mystery and intrigue lie ahead, as we discover, alongside Ansel, that Claire may not be exactly who she once was.
That pretty much sums up Faults; it is not a loud, visually boisterous film, however it demands attention in a more subtle way.
This cleverly spun story would not have been the same without Orser and Winstead, whose fearless performances charm and enhance the script’s sharp dialogue. Orser gives Ansel a desperation that is both comedic and heartbreaking in his consuming desperation to save Claire’s life and his own.
Winstead, who also happens to be married to director Riley Stearns, is no stranger to emotionally investing roles. Her performance is understated at first, but the more we learn about her, the fuller her character becomes. Whether she’s crying, screaming, or just blankly staring, everything Claire does is purposeful and poignant. Her wide range of emotions perfectly play to the film’s twists and surprises, without spoon-feeding the audience what we should be feeling.
A unique approach Stearns took was the use of, or lack thereof, a musical component. Most films have some sort of composition to aid in emotional pinpoints or transition between scenes, but Faults has an extremely light score. Even the end credits were scrolling in complete silence, making for an intense listening and viewing experience. It’s like how a person can command the attention of a large group by silently whispering; soon enough everyone is silent, trying to understand what you are saying. That pretty much sums up Faults; it is not a loud, visually boisterous film, however, it demands attention in a more subtle way. From the opening scene until the very last shot, Faults has that special something that hooks you, and you willfully fall into its world.
The set design and cinematography deserve major recognition as well; Brown and drab interiors of the hotel are made aesthetically pleasing due to unique composition and close-ups from the director of photography Michael Ragen. Consuming close ups on Ansel stress his spiraling downward life, while long takes on Claire implicate mind control and her proverbial power over him.
Faults may best be described as a “dramatic thriller,” but its darkly humorous moments sprinkled throughout the film blend genres to make it impossible to place in any one specific box. It’s a winning achievement for first-time feature director Stearns and cast, and a great sign of more good things to come.
Faults opens at the Los Feliz 3 theater and on VOD March 6th.
