“Putting our wishes out into the universe.”
Tragedy is a powerful backstory. It can be the driving force behind people’s inner thoughts and life-changing choices. Traumatic life events like losing loved ones, car accidents and more can leave an individual truly scarred. Tragedy can be the catalyst behind films across cinematic genres, but when horror and mythology are involved, something just clicks for the viewer.
Early in Avalon Fast’s film CAMP, Emily (Zola Grimmer) has already experienced two life-changing, heartbreaking tragedies — both of which mean she’s yet to really take life by the horns and live to the fullest. Her dad decides it may be best for her to attend a camp that specializes in troubled youth. To ease her guilt and maybe aid her recovery, Emily becomes a counsellor to help those like her. But before long, it becomes all too clear that this place is more than what she signed up for. Despite that, Emily does her best to bond with those around her.
As with most stories concerning teenagers and younger adults, bullying and drama become a part of the plot early doors. But cracks begin to show as the film bounces between a regular coming-of-age drama and a spookier dive into witchery and folklore. The film does its best to balance the two, but as you become drawn into one aspect, the other perspective can feel shocking and ill-fitting when it shifts back into focus.
That back-and-forth also takes away from opportunities for the main character’s journey and growth. As Emily guides those who have lost loved ones or gone through other traumatic experiences, there is an expectation that she will find healing alongside them. But when Emily’s story takes a different, more surprising turn, audiences are left feeling somewhat lost and confused, as well as disappointed by what could have been had we continued down that path.
That duality is more effectively present in the film’s overall vibe. Bringing retro flair to the cinematography, Fast does a great job of immersing audiences in a world with vintage and folktale-tinged elements. Her filmmaking style is reminiscent of earlier witch- and cult-classic films such as Ginger Snaps (2000). And as the writer-director introduces us to her protagonist, a looming sense of the magical and mystical teases something special to come. Unfortunately, that style can’t prevent CAMP from heading down an all-too-familiar path instead of building on that initial promise. It tries all too hard to become “camp”, pushing hard for cult classic status when it should have just aimed for originality. That particular pressure becomes more obvious and overwhelming as the story unfolds.
That said, in an industry filled with sequels and reboots, it’s hard not to salute Fast’s attempt to do something different with CAMP — whether it achieves cult status or not with its audiences. And that, combined with her technical prowess and vision, bodes well for the filmmaker’s future outings. So, despite CAMP’s shortcomings, this combination of fantasy, drama, and horror has moments you can really respect. It’s just a shame it doesn’t quite live up to its storytelling promise.
CAMP is in limited release across Canada now, with screenings starting today at VIFF. The film will hit VOD beginning in September.
