It's no secret that I have long used the film world as a sort of therapy. I've immersed myself in everything from Disney flicks to hardcore horror films in an effort to somehow work my way out of the traumas and the dramas of childhood and my young adult years. I thought of this often while watching Jakob Bilinski's latest film Compression, an indie flick that flirts with horror, dark psychological drama, and a few other genres on its way to telling a most unique story vividly brought to life by the remarkable Emily Durchholz.
Our story centers around Hazel Hendrix (Durchholz), a successful true crime podcaster left severely agoraphobic by a severe attack we're introduced to in the film's flashback opening sequences that impacted Hazel and others. It's clear that the experience has left Hazel a shattered and tattered version of her former self.
A series of events will take Hazel away from this podcast, a not so voluntary decision that leads her down a road to an ill-advised to put way too many "mushrooms" on her pizza. You can likely imagine what follows.
As a longtime fan of Bilinski's creative work, I'm very likely calling it that Compression is his best film to date. Co-written with Peter Matsoukas, Compression is the kind of indie film you can't help but love discovering because it rocks your world and makes you want to follow the filmmaker forever. While Compression likely does fall within the realm of horror, it's a less traditional horror flick with its slasher elements largely contained within Hazel's past and the film's darker psychological elements driving its narrative.
Durchholz, whose work I've long admired, also likely gives her best turn yet as Hazel. We spend about a third of the film really getting to know Durchholz and her story. We like her. We care about her. While it's clear she's experienced trauma, we want her to heal and move forward. By the time Compression leaps into its darker elements, we're full-on invested in Hazel and that's owing not just to Matsoukas and Bilinski's storytelling but even more so to Durchholz's riveting work.
At just over two hours, Compression could have easily overstayed its welcome. It never does. We spend extended periods with Hazel and an amalgam of supporting players both real and imagined. Compression is for the most part Durchholz's film, however, the film wouldn't have been the same without the likes of Kevin Roach as Elijah, Michele Rose as Sienna, Leland Morrow as Jay, and Stephanie Brugh as Anise among others.
Compression may very well take you back to a few films, though for me the film that kept coming to mind was Adam Wingard's early indie Pop Skull. While there are certainly variations in structure, both created a sort of alternative world while very much dealing with the real world. Both are absolutely powerhouse efforts for me.
Bilinski lenses the film himself and it's perfectly clear he knew exactly what he was going for and how to get there. Again, even in terms of cinematography I'd say this is Bilinski's best flick yet. The original score by Cj Johnson is also sublimely complementary. Kudos as well to Jasmine Withrow for an immersive production design tapestry.
Compression has been on the indie fest circuit for a bit with seven big wins at HorrorHound Film Festival and Days of the Dead Film Fest. There's no question its success will continue and it should have Hollywood knocking on the doors of just about everyone involved with the flick.
Compression may not always be the film you expect it to be, however, Bilinski has crafted a raw, guttural film filled with darkness and emotion and even shards of hope and possibility. If you get a chance to check it out, I highly recommend you do.
Written by Richard Propes
The Independent Critic
