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From Director Colton Van Til:

From a young age, my grandparents would play classic 40s and 50s films for me whenever they visited. If I close my eyes right now, I could probably watch It’s a Wonderful Life in its entirety from memory.

 

I was introduced to the acid horror subgenre by the works of Gasper Noe (Climax, Enter the Void).  I noticed that the effects of LSD can be a brilliant tool in film to beautifully unravel a character’s deepest repressions. 

 

Visually, my goal is to combine the vibrant, in-your-face visuals of acid horror with the classic look of 50s cinema.

 

For the film as a whole, I aim to pair techniques from the French Extremist movement with a more traditional American structure. This way we can show domestic audiences something they haven’t seen before while still delivering a cohesive narrative — so we don’t lose them.

 

Several plays and works of literature were highly influential in the inception of this project but most notably was Ibsen’s A Doll’s House and Gilman’s The Yellow Wallpaper.

 

I want to put the 1950s, an era we think we've progressed far from, up on screen and have audiences see themselves or their spouses in some of the more twisted characters. I want to put modern audiences through a horrific, but enlightening, acid trip and leave them walking out with their brains rattled and their perspectives shifted.