by Andrew Buckner

Rating: ****½ out of *****.

Filmed in Canada in late-winter for eight thousand dollars over the course of twelve days, Flesh of the Unforgiven (2025), from writer-director Joe Hollow, is as striking for its memorable, macabre visual strengths as it is for the emotional core, the turbulent relationship between a couple who are desperately trying to stay together and find forgiveness, that fuels the eighty-eight-minute masterwork. The project immediately establishes this symmetry of sinister sights and forthright feelings which courses wall-to-wall and unblemished throughout the endeavor in its three-and-a-half-minute opening sequence. This bit brilliantly, unnervingly showcases the focus on dreams, phantasmagoric imagery, distorted sounds, and hauntingly utilized music that gives the exercise its skillfully demonstrated, consistently raw, tense, and unapologetic tone. All of these elements perfectly compliment the material. 

From herein, Hollow’s smart, stylish direction and sharply paced, character-driven screenplay, which is filled with organic dialogue, as well as the intimate, ever-credible, standout turns from Debbie Rochon as Sienna Russo and Hollow as Jack Russo (who form the aforementioned pair), deftly guide the offering through its labyrinthine maze of alternately heart-tugging and heart-rendering moments. This also occurs throughout the thrilling, satisfying climax, which nicely ties together nearly all of its narrative components. The resolution also intelligently leaves just enough enigma in regards to its diegesis for audiences to ponder the film long after it has reached its indelible conclusion. The ominous yet breathtaking cinematography from Kevin McMillan, proficient editing from Hollow, and the simultaneously retro and ghoulishly believable effects segments, especially the numerous gory bits, persistently punctuate the high-quality nature of these cinematic ingredients.

Incorporating an inherently intriguing plotline that feels drawn from equal shades of Hellraiser (1987) and The Shining (1980), Hollow tells the tale of Jack and Sienna Russo moving to a cabin in Quebec to combat Jack’s writer’s block and help repair their ailing relationship after Sienna’s infidelity. With three days to pen a treatment for his upcoming novel, Jack finds his grip on reality deteriorating. This is after watching a VHS tape, which is meant to give Jack “inspiration”, filled with violence, death, and depravity. Soon, the Russos find themselves battling both personal and otherworldly demons.This is as the Death Dealer, an instantly iconic villain brought to life in mesmerizing fashion by another scene-stealing turn from Hollow, and his underlings begin to prey upon and psychologically manipulate Jack and Sienna with their wicked ways.

Meticulously crafted with storytelling that delicately balances both a straightforward and complex approach, the latest feature film from Hollow also benefits from classic yet enduringly powerful genre themes such as absolution, the sins of the past, and the fear of the unknown. These topics, along with the top-tier enactments from a terrific, wisely chosen cast of performers including John E. McClenachan as Michael the Bartender, August Kyss as Vivienne, and Adriana Uchishiba as Livinia blend auspiciously with the even-handed mix of timely and timeless horror elements, all of which are impactfully implemented, Hollow fashions throughout the production. 

Moreover, the leads are amply developed and, even if there are instances when the quarreling between the Russos becomes too familiar and repetitive, Hollow never loses sight of detailing their plight. These arrangements, alongside the authentic, hard-hitting costume, makeup, and sound department work make the piece evermore superb.

Further boosted by commencing and concluding credits scenes that are as marvelous from a perceptual angle as they are atmospheric, Flesh of the Unforgiven is stunning across the board. The undertaking also erects an unbroken timbre of gritty menace that is as admirable as it is reminiscent of the stories of Clive Barker and Stephen King. Hollow’s picture is imaginative, graphic, relentless, and often erotically charged. It’s one of the best independent genre outings of its type in quite some time.