Anna Rose Holmer’s audacious debut, The Fits, defies expectation at pivotal turns. With a voyeuristic, almost documentarian, approach to characterization, her angle is that of a wallflower, dangling on the narrative precipice of something indefinable and otherworldly that’s also very much intimate, universal. That Holmer’s film truncates at barely an hour and ten minutes, leaving us stumbling for answers in the aftermath of its unchecked mindfucking, is a testament to her nontraditional narrative verve, even if it may leave the casual viewer yammering for proper resolution. Read More