Synopsis: After losing her job and imploding her latest dysfunctional relationship, Olive (Amanda Crew) flees the city for the weekend, escaping to the countryside for some peace and self-reflection. She rents an ornate country house from an eccentric widower named Harvey (Robert Patrick). Soon two generations collide with terrifying results as Olive awakens Harvey’s homicidal tendencies and is plunged into a blood-soaked fight for her life. More than your average slasher film, TONE-DEAF provides a dark critique of the bizarre cultural and political climate that currently exists.
Whereas my previous films deal with very distinct characters and the details of their emotional traumas, with Tone-Deaf I felt it necessary to take a different approach. Fascinated by the troubling times in which we live, and how they’ll be perceived in the context of history, I decided to take a broader, more observational approach. And in doing so, the film serves dual purposes.
First and foremost, to entertain and provide social catharsis for modern viewers. I created a heightened reality in order to hold a magnifying glass up to various aspects of the current generational divide, while still providing a sense of midnight movie escapism.
Secondly, the movie exists as a cultural artifact – something to be re-discovered and gain perspective from, as it relates to a small but important piece of a much larger puzzle.
Tone-Deaf was initially inspired by Norman Rockwell’s painting, The Connoisseur, which many believe sets out to satirize the artwork of Jackson Pollock. A gentleman wearing traditional business attire stands alone, inside an art gallery, staring off into a void of abstract expressionism. But the closer this director looks, the more I see a portrait of a frightened and confused old man at odds with modernization.
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