THE HORROR AT GALLERY KAY is a supernatural melodrama centering on an estranged lesbian couple whose counseling session reveals the existence of a hidden world. This ‘terrible city’ threatens (and questions) the very fabric of reality as we know it … the outcome of which might be determined by whether or not the couple stays together.
Produced by Brian Enk, written by Mac Rogers, and directed by Abe Goldfarb, The Horror at Gallery Kay is an altogether different viewing experience—something you are more likely to find in an art-house cinema than screening at a horror festival. It is an expression of thoughtful, poetic and imaginative storytelling that borrows from horror rather than becoming it. At its core is a unique vision of storytelling; one requiring Socratic dialogue and a heavy focus on the back and forth of the conversation. There is a lot to digest so let’s try and go through it bite by bite.
The film follows Olive (Rosebud) and Petra (Maine Anders) as they begin their first couples counselling session with Bozill (Brian Silliman). The on-screen chemistry between all three of our protagonists is absolutely amazing. Brian Silliman may have been the most seasoned but Rosebud and Anders blew me away as the couple in crisis. Anders, in particular, has a wonderful ability to weave a story with a commanding presence, especially when doing her monologue about the train. I wouldn’t say any was better than the other as they all pulled off their roles commendably well.
Central to the plot is the dialogue, which was for me simply a treat. There have been many comparisons made to many other movies as other writers have attempted to frame this film in relation to those that have come before. Unfortunately, naming another film here is simply going to give you an incorrect idea of what The Horror at Gallery Kay is and isn’t about. It is about a lesbian couple in a troubled relationship, but it’s also about defining art and the artist, its about commitment and responsibility, it’s about sharing one’s life and experiences with others, it’s about learning to listen and see past one’s own perceptions—instead trying to empathise with the perceptions of others, it’s about creating a new world to live in with the ones that we love. It’s a heavy film with a lot of substance; a film for the sake of creating art.
Unfortunately, not everything is praiseworthy. As the film unfolds and the darker sides of the characters’ natures rise to the surface, the budget and special effects have a hard time keeping up. The secretary’s mask, the poor gore scenes, lack of visual effects, as well as the other typical gremlins that plague most indie films made for a lacklustre ending to what was otherwise a very unique experience. It wasn’t bad, it was just that the first half of the film set the bar higher than what the second half was able to achieve.
Overall, it was a very enjoyable watch, especially if you enjoy philosophical banter and a dark sense of humour. It is an intellectual film that will probably not be widely accepted by horror fans in general, especially those looking for some cheesy slasher film with a steamy shower scene. I wouldn’t really even consider this a horror in the true sense of the word, more like some kind of bizarro world meets twilight zone counselling session. Whatever label you chose to go with, The Horror at Gallery Kay is different, fresh and avant-garde. You’re either going to love it or hate it. Luckily for me, it was the former. Thanks for reading and as always, stay sordid. Trailer and links below.
Visit the Film’s website here: https://www.thehorroratgallerykay.com/
Site founder. Horror enthusiast. Metalhead.