Tortured past
Having just received its UK premiere at FrightFest, Pierre Mouchet’s debut feature is a carefully crafted thriller that boasts some brutal little set pieces. But Schlitter: Evil in the Woods is much more than torture porn, unravelling a carefully constructed plot with some riveting payoffs. Translating as “Slider” (you’ll see why!), the film tells the story of Lucas who returns to his home village to bury his parents, who have tragically died in a mysterious fire. Traumatised by his abusive father as a child, he also witnessed the death of his best friend when he was eight years old. But he has never told anyone the truth about what happened. However, the still-grieving father of his friend has never been able to get over his loss. Someone is responsible, and he seeks revenge… and Lucas now happens to provide an answer and even pay for his father’s crime. Pierre took some time to share how he came up with the idea of the film and some of his personal influence as a filmmaker…
I’m interested to know whether the title of the film was there from the offset as the etymology behind the word “Schlitter” seems to be infused throughout from “maker of sleds” to the more slippery aspects; the slopes, the gore etc. There is even the awful accident itself centred around a “Schlitterbahn”… or at least this symbolism of how vengeance is a “slippery slope”. It’s either all of this or just some more simple and personal…
From the very beginning, the title came to me even before writing the script. The idea for the film comes more from a childhood memory. During a school trip when I was 8 years old, I discovered this sled, which seemed gigantic from my child-sized perspective. This memory stayed etched in my mind. I always wanted to write a story featuring this sled in the horror-thriller genre. Hence the title, which should normally be spelt “Schlitteur”, which is the name given to the lumberjacks who practice this trade. But the term “Schlitter” has a resonance close to “slasher”, which I find more effective.
What were the key developments while filming that evolved from yours and Nicolas Robin’s script?
The original script had to be slightly adapted to the constraints of filming, in terms of time and locations. But overall, nothing revolutionary. It was mainly during editing that certain scenes were shortened to enhance the pacing of the story, but without fundamentally changing the narrative.
This is a great addition to “French Extremity”. What do you feel it is that attracts French filmmakers to this subgenre?
This genre attracts filmmakers who have been immersed in B-movies, horror, action, or thrillers… as was the case for me. I’m not so young anymore, and during my teenage years — and even later — I mainly watched this type of film, which I found amazing.
“It’s not so much the horror
that appeals to me.”
— Pierre Mouchet
What are your influences as a filmmaker, within and beyond the realms of cinema and genre filmmaking?
I do indeed have some reference films that are close to my heart, such as Alien, Blade Runner and Evil Dead 2. There are many others in different genres. More recently, I have found Korean cinema to be effective and very inventive. I also love anime like Akira and Ghost in the Shell.
What is it about working in the horror genre you love so much?
It’s not so much the horror that appeals to me. I wouldn’t make a gory film just for the sake of gore. I like when a film tells a story and makes the audience feel for the characters. That said, I do appreciate a certain level of violence that elicits strong emotions in the viewers.
Angry man. SCHLITTER: EVIL IN THE WOODS deal with deeprooted abuse
There is a great sense of character, especially in how the lead deals with abuse. How did you manage to carefully balance these aspects of the film with the more extreme moments?
As I explained earlier, I like the story to have meaning, allowing the hidden suffering of the protagonists to gradually unfold. That’s why the first part of the film helps to understand Lucas’s unease in the woodcutter’s house, which he visited with his childhood friend. Lucas feels responsible for Matthias’s death because he challenged his father at the wrong moment. Then, the film slowly begins to draw the viewer into the woodcutter’s revenge. This starts during the meal where I prepare the audience with the mouse being cut by the machine, before revealing that this machine has a deadly big sister
Past reminder. Lucas (Louka Meliava) must confront a dark secret
I understand the film was originally a TV movie. Could you explain how the film has ended up on the festival circuit to hopefully reach a wider audience?
The film was initially planned for theatrical release, but due to its financing model, it became a TV movie. I always hoped that the film would be included in the festival circuit, and I am delighted that it has been selected for FrightFest.
What do you want an audience to take away from the film?
Just that they simply enjoy watching — for me, I am honoured by the selection of Schlitter at FrightFest.
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