For all the crap I give found footage films (and many indie films, for that matter), there are some that manage to skirt the pitfalls that the other films wander into on a regular basis. The “less is more” approach and relying on storytelling and characters to create tension without CGI or special effects still works today for many films if the filmmakers try to work within those confines. Case in point: director/writer Sara Adina Smith’s The Midnight Swim. This is one family drama that flourishes in those same confines, albeit with some drawbacks.
After the disappearance of Amelia Brooks (Beth Grant) on a dive in Spirit Lake, a lake she had been campaigning to preserve, Amelia is presumed dead. Her three adult daughters, June (Lindsay Burdge), Annie (Jennifer Lafleur) and Isa (Aleksa Palladino), arrive at their childhood home to console each other and make plans for their mother’s belongings. June, the documentarian of the group, decides to make a documentary of the event as a coping mechanism. Things take a turn after discussion of an urban legend involving seven sisters who drowned in Spirit Lake, and the apparent summoning of the seventh sister. Mysterious happenings begin to occur around the house, and now June, Annie and Isa must come to terms with what’s happened.
As with any dramatic thriller that focuses on its characters to drive the story, the performances in The Midnight Swim are key. Burdge is largely our focus, since June is the one filming everything, and as a result the story unfolds through June’s point of view. This makes it difficult for Burdge, since we often don’t actually see June, but rather just her voice. Thankfully, Burdge is able to remain present and connect with the audience through the camera motions and her voice. It’s also quite clear that June has some mental issues, and both Annie and Isa work to keep June from going too far, but at the same time have sibling spats. The trio’s chemistry works wonderfully, and you really do get the sense that they’re all sisters. This is none more apparent during one scene where the siblings make a homemade music video, where there’s a rekindling of the connection they had growing up. At the same time, there’s a vulnerability on display, particularly with Annie, the eldest and most dependable of the three. She begins to cave under the strain of what’s transpired, and it’s uncomfortable to both the audience and the other sisters. It all makes for wonderfully developed characters.
In addition, the atmosphere that Smith creates within the film is both alluring and mysterious. Cinematographer Shaheen Seth captures the beauty of the Iowa cottage country in great detail. From the reflections of the stars on the water at night, to shots of the wind blowing through the trees, it’s incredibly immersive, and if you’ve ever owned a cottage or stayed at one for an extended period of time, you’ll instantly go back in your mind to those moments where you just sat and silently watched those same moments. At the same time, Smith manages to build up ominous feelings through the lens. Apart from dead birds showing up on the doorstep and a mysterious timelapse sequence taken of the lake, the horror comes from the sisters’ attempts to cope and their interactions when emotions boil over. One particular scene is helped just by the fact that the camera is placed on the rug, with the only motion being the light dancing through the leaves as the wind blows outside, while the sisters argue and the emotion starts ratcheting up. You’re essentially held captive as you want to turn around and look, but can’t, leaving the sound of the argument to drive the increasing tension. It’s more of a unsettling feeling rather than flat-out scares, which is still quite powerful and effective. In fitting fashion, the ending of the film is just as mystical and intriguing as the rest of the film, even if it’s a little unsurprising.
Unfortunately, while Smith manages to incorporate the found footage aspect of the film and make it work, it’s not without flaws. Despite the fact that we’re so entrenched in the camera being June’s POV, there are moments, such as audio carrying over between scenes and the camera turning towards people before they speak, that ruin the found-footage illusion and take us out of it, reminding us that this is still a traditionally-shot and edited film.
In spite of this, The Midnight Swim easily manages to enthrall and captivate the viewer. The performances by the three actresses are amazing and drive the story, which is made all the more captivating. The serene beauty of the camerawork only helps to draw the viewer into the film even more. Really, there are times when subtle ghost stories are just as effective as the spooky and bump-in-the-night types of films. This film is a definite must-watch if you’re into character-driven stories.