Honeymoon

Honeymoon is the feature debut of writer/director Leigh Janiak, and continues this year’s trend of strong genre pictures directed by women—initiated by Jennifer Kent’s The Babadook. In the grand indie tradition, Honeymoon is a small scale, low-budget effort that relies on spooky mood, dark psychological tone, and creepy inference rather than action, special effects, and complex cinematic techniques. The film could be described as a two-character, single location, internalized version of Invasion of the Body Snatchers, or a sharp combination of cabin-in-the-woods thriller with relationship breakdown drama. 

Rose Leslie (Downton Abbey, Game of Thrones) and Harry Treadaway (The Disappeared, Fish Tank) play Bea and Paul, newlyweds who spend their honeymoon at Bea’s deserted, rustic family cabin. All seems well until they venture out to the local diner and discover the film’s only other characters, Bea’s childhood friend Will (Ben Huber) and his wife (Annie Hanna). Issues of love, trust, sacrifice, and identity are raised as the young couple tries to make it through what should be a weekend of romantic bliss that quickly turns into a nightmare.

Honeymoon is simply but confidently directed, and the two leads are strong. Janiak and her co-writer Phil Graziadei devise a clever backdoor approach into a familiar genre. I love it that you’re not fully aware what type of movie this is until it’s over. While the film is a bit underwritten—it actually feels too long at 87 minutes—the external atmosphere and interpersonal dynamics keep the viewer locked in. Honeymoon is another recent example of both the advantages and limitations of working within a low budget. It’s an impressive calling card for a new director more than a truly memorable picture, but still well worth checking out.