Eighteen years after disappearing without a trace, Cornelius Rawlings (The Athlete) returns to his family's farm. While his parents are long deceased, Cornelius's brothers Ezra (The Matriarch) and Amos (The Artist) continue to live in isolation on this old, forgotten land. Wilbur, their farmhand, sleeps in a tractor tire out back. One day, the toilet breaks. A plumber is called. That man, Red 'Rooster' Rippington, shares his bed with a pretty young girl named Savannah. He also happens to be a figure from Cornelius and Amos's past. It will take the efforts of a mysterious drifter to smother the Rawlings Brothers' demons once and for all. -- (C) Sundance Selects … More
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Critic Reviews for Septien
It's all a labored sort of strange, like someone forcing himself to have a bad dream.
There's an unkillable something at the heart of "Septien," an artistic ambition that's not calculated or cynical, that feels homegrown American but is thoroughly resistant to totalitarian spectacle and the manufactured tides of mass opinion.
The setup and storyline are absurd, but the angst underneath is as earnest as a campfire confession.
As intriguing as the movie is, there's the sense that its free-associative story line has been dredged up from its maker's unconscious and recounted without filter or shape.
This low-budget paean to indoor plumbing and rampant facial hair doesn't unfold so much as unravel.
Never the same movie for five minutes straight, Septien can't sit still.
A unique slice of Southern Gothic that trades in low-level mischievousness, Septien is the ultimate chameleonic cinematic experience -- it is chiefly what one wishes it to be, based on their mood, and interpretation of its rhythms.
Tully has forged an original independent work of spirit and intelligence, perhaps the best American feature so far in 2011.
The film takes advantage of its striking setting, but unfortunately the characters at its center gradually reveal themselves to be less interesting than they initially appear.
The film lingers on prolonged moments of foreshadowing that offer little apart from the studied weirdness with which many low-budget wannabe oddities traffic.
An oddball backwoods curio, that takes us off the beaten path art-house style.
I must be really getting into the festival circuit because now I'm totally open to a movie like Septien.
Tully is comfortable enough with his own material that he doesn't overplay gags. His parodies are odd enough to have a comic freshness, even in the well-traveled field of gothic mockery.
The combination of its backwoods horror-style set-up, an excellent score from Michael Montes - at once childlike with a fairytale edge, yet quietly menancing - and the off-kilter but nice-as-mom's-apple-pie characters gives the comedy its disturbing edge.
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