In a Violent Nature

A slasher shot almost entirely from behind the killer, at walking pace, with no score at all.

Johnny is woken when a locket is taken from the collapsed fire tower he is buried under. He walks to retrieve it. The camera follows him, in long takes, through forest, at his speed.

Chris Nash inverts the form completely: the victims are heard as fragments of conversation the killer walks past, characters are introduced and dispatched without the film ever caring who they were, and there is no music to tell you when to be afraid.

It is closer to a slow-cinema nature documentary than to Friday the 13th, and the effect is to make the killings feel like weather.

The yoga sequence is the one that will circulate for years and it is one of the most extreme practical effects put in a film.

The final fifteen minutes abandon the conceit entirely and are the weakest part.