Who would’ve thought that Michael Scott and the Dunder Mifflin Employees would inspire what would become a genre defining film, but that’s exactly what director, Markian Tarasiuk has done with his pseudo-found footage film, ‘Hunting Matthew Nichols,’ which is equal parts ‘Blair Witch Project’ and ‘The Office,’ all of which works remarkably well. The film takes a genre that finds itself often times relegated to the bargain bin and breaths fresh life into it. ‘Hunting Matthew Nichols’ is what happens when creativity drives a project that is a clear labor of love. It’s refreshing.
Tara Nichols has never been able to let go of her brother, Matthew, who disappeared with a friend 20 years ago. The circumstances were mysterious and the investigative work had holes in it. Turning her trauma into a documentary to finally get to the bottom of her brother’s disappearance, Tara pushes the limits of her own sanity and mental well being hunting Matthew down at all cost. It’s this compelling story, cast, and dedication to authenticity that makes ‘Hunting Matthew Nichols’ such an incredible cinematic experience.
A Defining Genre-Bending Approach
‘Hunting Matthew Nichols’ is not a found footage film. If anything, it’s a pseudo-found footage film that takes everything that makes the genre unique and throws it back in it’s face. It presents itself in a way that always keeps the audience offbalance. They’re never quite sure what it is. That dedication to authenticity is why Tarasiuk’s debut feature stands out as something fresh. The film’s approach to keeping the root in reality blurs the lines of actor and victim.
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The use of the documentary to tell the story was such a clever decision. While it seems simple, it opens the story up to being so much more. The choice allows the film to turn on a dime and shift in a way that’s both shocking and horrifying. The moment the audience realizes that they are no longer watching a documentary is jarring in a way that snaps the audience back into the reality of “did this actually happen?” This creative decision keeps the audience on its toes and the suspense at the highest level.
Terrifyingly Well Cast
‘Hunting Matthew Nichols’ does not work without an exceptional cast. The cast in this case, though small, has clearly bought in on the film and it shows. Tarasiuk has put together an A team that clearly had the sole mission of putting forth their absolute best effort. For a film like this to work, it needs authenticity and believability and this cast knew that and provided it.
When the film first began, I was confused by Miranda MacDougall’s performance. It felt very hollow and manufactured…and then the audience was allowed behind the camera and her tone and presence changed entirely. It was an act for the camera that set the tone of who Tara Nichols is and what she’s trying to achieve. For me, that choice made the rest of her performance feel real and as if she was ACTUALLY Tara. MacDougall’s protrayal of how the whole experience was affecting Tara and her overall mental state was exceptional. Truly, her entire performance was captivating.
Tarasiuk pulled double duty going both in front of and behind the camera. His role as the director served as a foil to Detective Pam Hamilton, played by Christine Willes. Both do their best to guide Tara, but to no avail. There is a moment between Tara and Detective Hamilton, however, that is some of the best filmwork and acting that I’ve seen in quite some time. Willes comes off as genuine, like she had been working the beat for 20 years and had been around long enough to have seen more than one Tara Nichols. MacDougall presents as broken, wanting only to find her long lost brother. The scene is devastatingly real.
Final Thought:
‘Hunting Matthew Nichols’ is shot of adrenaline to a genre that has been circling the drain since 1999. It’s use of personal anguish and actual horror are going to shock audiences in a way that they haven’t been in years.
