Drowning in sordid secrets and lies, hellbent on delivering devilish antics and driving tension to a delightfully unbearable peak is Kill Victoria. 

This thrilling rollercoaster follows a group of friends composed of couples Paula (Sara Canning) and Pete (Michael Xavier), Jacky (Gia Sandhu) and Nigel (Robin Dunne), along with the incessantly single Nick (Aaron Poole). The familiar dynamic soon changes when Nick finally becomes engaged to Victoria (Laura Vandervoort). Upon the group’s chemistry changing with Victoria’s arrival, the foursome begin joshing as to how they would kill Victoria in order to get prior-engaged Nick back. However, when the whole group departs on their annual weekend trip, secrets arise and trouble begins as Victoria uncovers a horrifying secret that changes the course of their lives forever. 

This wickedly devious film weaponises an iceberg approach, where the surface level is host to a barrage of entertaining and gripping sequences filled with edgy escapades and enthralling twists and turns. However, diving beneath the exterior reveals various levels of sophisticated plot points that work to meticulously craft a fleshed out, complex piece of cinema. Beginning with the peripheral factors: Kill Victoria equips a vivid visual palette that truly captures director Robin Dunnes (who also stars as Nigel) and cinematographer’s Justin Yaroski’s talents of creating a world that immerses the viewer into the compelling nature of the film.

For instance, throughout Kill Victoria, the camera often shows Individual close up shots of each character in moments of contemplation and understanding, piecing together the gravity of the situation they find themselves in. Not only do these moments of individualism look absolutely stunning with the almost Chiascuro-esque lighting burning a sense of emotional intensity onto the screen, but it also speaks to how the film unveils the uncomfortable reality of self-serving relationships. 

Dunne, also serving as the writer, took inspiration from his own life experiences to write the script, with him brilliantly, boldly, and bravely being open about how his own encounters with past relationships helped form the basis for the film. In Dunne’s director statement, he notes how a partnership in his mid-twenties resulted in his friends and family drawing back from him, not because of disdain, but because he had changed at the hands of his kinship. In a beautiful way that is admirable from Dunne, this film replicates a universal experience that many will appreciate as a life lesson, a plight that touches on themes of personal-centeredness, self-doubt and the lies that we tell ourselves that twist and conform until they resemble the truth. 

Such a dense film relies on the vitality that excellent performances provide. In the case of Kill Victoria, this entirely true. Every single actor thrives in this dramatic character study, employing dimensionality to their on-screen personas and perfectly portraying gutsy yet hearty characters. Coupling this is the film’s applaudable way that it slowly reveals its true colours. Not everything is laid bare and spelled out, alternatively, we are slowly fed information piece by piece, building a slow burning tension that erupts when the real ferocity of the story is revealed. 

Kill Victoria is an intricate and nuanced piece of genre cinema that will continually leave the audience guessing and wanting more, leaving a lingering mark on the lucky viewers. 

You can catch the film Sunday 29th September at this years festival, tickets here!