Starve Acre
Directed by Daniel Kokotajlo
Written by Daniel Kokotajlo, Andrew Michael Hurley
Starring Matt Smith, Morfydd Clark, Erin Richards, Roger Barclay
Unrated
Runtime: 98 minutes
In Theaters and On Demand July 26

by Tori Potenza, Staff Writer

Folk horror has had quite the resurgence over the past ten years. Films like Midsommar, The VVITCH, Men, the documentary Woodlands Dark and Days Bewitched: A History of Folk Horror, and smaller releases like Enys Men have really shown that the subgenre is quite relevant in the horror genre as a whole. Folk horror’s ties to the earth, our ecosystem, and other oppressive systems make it clear in our age why we are drawn to these stories and how they find an artistic way to help us process these tumultuous times. If you have seen any of these titles or ones like it, you will quickly get on the wavelength of Daniel Kokotajlo’s new film Starve Acre. Adapted from the well-regarded novel of the same name, this film explores grief, childhood trauma, and our ties to old traditions and the earth. Unfortunately for this film, it does not stand out in the subgenre and relies too heavily on much of the imagery from other films, making it a lackluster story held up by good performances and gorgeous cinematography.

The story follows a family who has moved to the countryside where their patriarch, Richard (Matt Smith) grew up. His wife Juliette (Morfydd Clark) hopes this change will offer peace and tranquility for their son. Unfortunately, their son begins exhibiting increasingly strange and violent behavior. While the parents butt heads in terms of how to handle the situation, they are hit with a sudden tragedy that turns their tranquil lives upside down. As they attempt to process the events of what they have gone through, Richard’s childhood comes back to haunt him, and it becomes increasingly clear that their idyllic country home harbors some old dark secrets that want nothing more than to be unearthed.

The biggest issue the film has is that it feels like an amalgamation of many of the independent, slow burn, A24-esque films that horror fans have seen before. In this way, it feels formulaic: even with the adapted work to lean on, it struggles to find its own true voice or hook to make it stand out from the rest of the crowd. It pulls in similar imagery and thematic similarities that do not pack the punch that its predecessors have. The story in general feels like it is missing a larger emotion or heart, and at the end of the day, this lack will make it a forgettable installment in the folk horror arena. There are certainly filmmaking elements that are enjoyable and even impressive, but it is not enough to make this more than a middling new release.

One of the biggest strengths it has is that it is led by two incredible faces in genre film and television. Clark brings a new kind of energy to her role as Juliette but is given several disturbing and powerful moments to show off her range, similar to how unforgettable her energy and performance was in Saint Maud (2019). Smith also seems like an actor who is always willing to get a little weird in his choice of roles, and while his performance is a little more subdued than those he has given in the past, it is clear that he understood what to bring to the aggravatingly masculine father figure, Richard. The best part of the film is watching the two separately deal with their pain and trauma. It pushes them away from each other but nonetheless brings them to the same disturbing discoveries. Much like the stereotypical man in a married relationship, Richard is the educated man of reason who pushes aside anything that involves digging into emotions or opening up to superstition. While Juliette is the more emotionally intelligent homemaker who is open to new ideas and ways of thinking, making her more open to the chances that come for them. Together they make a fantastic pair.

The film gives gorgeous and picturesque cinematography that highlights both the beauty of the land and the raw natural power and sinister nature it harbors. While it takes awhile for the film to move along and get to the more horrific elements, once it does, they are strange and interesting to observe. Its use of animals and close up shots of the dirt, decay, and deadness of the land does offer some great visual storytelling that keeps you hooked when the story feels a little too meandering. In general, the writing does feel a little loose, and it was easy to get lost in some of the folklore and world building the movie is trying to do.

All in all, Starve Acre is a beautiful looking horror film with wonderful leading performances that struggles to get its story across and to rise to the level of the films it emulates. There are plenty of thematic elements that are very interesting, and from all accounts, the book itself is a great read, so it leaves me questioning what was lost in translation from the book to the screen. The ending has some fun twists and turns, so it may be worth it for fans to stick around just for that. Let’s hope that folk horror continues to be a fruitful subgenre with more to give us.