The Commune

This screener came with one of the most complete press packages I’ve seen yet: articles on the film and the director (including an awful blogspasm by Ellen Snortland), related news stories that served as inspiration for the picture, photos and benefit information (see end of review for more information), all wrapped in a folder adorned with postcards and a promotional collectible. That being said, it’s still difficult to keep from being a little skeptical regarding a film advertising itself as “A New Cult Classic” (pun intended?). But the level of effort here exceeds that of many other independent film attempts, and multiple references to The Wicker Man make it look like an intriguing project indeed. Let’s take the trip…

The film begins on a shocking note as Jenny (Chauntal Lewis) wakes up in a hospital, only to commit a horrific act of violence upon finding herself still trapped in the land of the living.

Cue sitar, drums and credits, all playing over some beautifully sinister prints by Klimt and the like, and we find ourselves nine months in the past. Jenny and her mother Cassie (director Fies) are awaiting a visit from Jenny’s estranged hippie father, “Doctor” Clark Polieos (Stuart G. Bennett). When Clark finally arrives to take Jenny out to his commune for a visit, the ride there is uncomfortable to say the least; Dad’s anecdote about getting lost in the forest while wandering around naked and being guided back to the path by a “magnificent hummingbird” doesn’t really come off very well.

Upon reaching the commune of Stag’s Grove (Isis Oasis Sanctuary) Jenny is greeted warmly by Earth mother Rhea (Adrian Lee) in all of her patchouli splendor. Hitting the sack as soon as possible, Jenny has dreams involving a number of vibrant symbolic images. The next day she wanders the grounds of Stag’s Grove, a colorful place adorned with many atavistic sculptures and Egyptian objects. And security cameras. Stag’s Grove isn’t without its share of paranoia and megalomania: “We don’t pay taxes here,” explains Rhea, “To protest the military industrial complex. And they can’t make us.”

Rhea proceeds to give Jenny a guided tour of the compound. There’s a theater for anti-war seminars that doubles as a “red hut,” a clothing-optional pool, various forms of wild life, even a sauna (“The circular shape of the sauna symbolizes the vagina – helps make you hot and wet.”). And a little girl, Pomegranate, busy drawing a picture of the phallic Horned God.

When questioned, Rhea explains the commune’s triumvirate belief system of virgin/mother/crone. They aren’t exactly Wiccan at Stag’s Grove, being non-denominational, but they do adhere to a new age-style philosophy of do-it-yourself religious tolerance. “Everyone here gets to be the best ‘me’ they can be.” Jenny considers this to be sacrilegious: “So you make shit up. Like whatever suits you at the time.” Rhea’s response, meant to be open and accepting, instead comes off as cold and condescending.

Slipping away from Rhea’s creepy clutches, which have already begun to be oppressive despite the guise of freedom the commune pretends to adopt, Jen calls her mother to complain about the “wiggy shit” she’s being exposed to. During the conversation it becomes clear that Jenny is to stay at Stag’s Grove for a month in order to appease a custody lawsuit of her father’s that would otherwise require her to spend every other weekend at the commune. Mom’s advice is to snoop around and see if Jenny can dig up some “financial dirt” on Clark that would make him drop the legal action altogether.

Following a crudely drawn map, Jenny follows a trail toward the nearby town. On the way she accepts a ride from some cat named Puck (David Lago) wearing eyeliner, nail polish and a faux-looking soul patch. But he’s got “granola” in the family as well, so he drives her into town and the two bond over a plate of ribs. Afterward Jenny’s plan is to catch a bus back home to San Jose, but as she and Puck wait at the stop who should come driving up but Clark.

With a little bit of parental authority, and a lot of wheedling, Clark convinces Jenny to come back to Stag’s Grove, at least for one more night. Jenny consents, and on the way there Dad sings along to “Sexual Feelings” on the car stereo, yet another disconcerting and inappropriate moment in a string of many. Especially when he makes the little sex noises as well.

That evening they have a Sabbath feast. Against the calling of peacocks Clark offers up a cryptic prayer, and the uncomfortable hippie banquet begins. Afterward Jenny manages to avoid a tree-hugging as well as a discussion of sex with Rhea, simply wanting to get to bed and get it over with. Something awakens her in the middle of the night however, and going to the window she sees what looks like a man wearing an Anubis mask and a robe masturbating outside of her room. In shock Jenny falls backward, passing out into a lurid series of dreams. In the morning she finds herself back in bed, naked when she wasn’t before.

Jen appears to settle into the routine of life at Stag’s Grove, joining in the communal chores, attending the painting therapy workshop, and even sitting in on one of Dr. Polieos’ seminars. During her next trip into town Jenny visits the fortuneteller Esmerelda, who conducts a tarot reading that indicates danger and conflict. Asked about an image of the Horned God, Esmerelda describes him as both the consort and the child of the Great Mother, characterizing his local following as a bunch of “Randy old flower children.”

Jenny also meets up with Puck again, who serenades her during a riverside picnic. As he prepares to drop her off their romantic moment is well and truly spoiled by a rabid Clark, who adamantly prohibits “whoring” and fast food. (“You reek of French fries!”) Citing her behavior as the very reason that he should have full custody, Clark gives Puck a hostile peace sign and trucks Jen back to the compound.

Later in the day Clark apologizes to Jenny, but at the same time drops the hint that he doesn’t want her mother “in the way.” Meanwhile, back home, Cassie is busy picking up some guy in an elevator and taking him home for some raunchy horseplay. That night, after walking in on Clark jerking it to fetish videos of Cassie, Jenny phones her mother but the call goes unanswered, serving only to interrupt mom’s party.

Continuing her snooping, which the tree-hugger interrupted earlier, Jenny breaks into her father’s file cabinet. There she finds coded folders on commune members, including a file on her mother that contains some photographs of Cassie in religious attire and others that have been viciously defaced. There’s also a million dollar property grant deed for Stag’s Grove, exactly the kind of thing Jenny is looking for. Spy-style Jenny takes a picture with her cell phone, then finishes up and gets out of Clark’s office.

The next day is the solstice, and Jen’s 16th birthday. She awakens to find her cell phone missing and immediately confronts Rhea. Not only does Rhea give her a parcel of fairytale nonsense, but she also informs Jenny that Cassie won’t be able to attend the party. Jenny doesn’t believe her of course, and runs off into the woods to sulk. And hug a tree. While out there she hears her father approach, whistling as he does so. The simple tune triggers a repressed childhood memory in Jenny that sends her running down the road straight to Puck’s place.

One thing doesn’t quite lead to another, at least not yet, Puck instead crafting an escape plan for Jenny. The one hitch is Jenny’s missing cell phone: “That evidence is my future.” Soon it’s nighttime, and Jenny and Puck are making it in his car in a mumbling backseat love scene. It’s over even sooner than that; says Puck, “I’m used to a condom…Are you sure you’re a virgin?” Only now does Jenny admit that she’s only 16, and right away Puck starts making excuses to ditch her. A trip to his mother’s P.O. Box in Ukiah comes up, but he does express his fondness for the girl. “I’m so glad that I met you. It has been…sublime.”

Leaving Jenny crying on the outskirts of the commune, Puck drives away. Jenny lets herself in and washes her face, and is suddenly accosted by a figure wearing the same Anubis mask she saw earlier. All goes black, and when Jenny comes to she’s in fancy dress, being dragged through the forest on a litter hauled by masked commune members. Who are decidedly unfriendly at this point; Jenny is informed that because they missed the “sacred solstice” due to her indiscretions, a sacrifice will be required.

And now the horrors truly begin, one coming right after another. These lead back to the disturbing scene in the beginning of the film, with an epilogue explaining the occult motives the sickly self-serving commune members had for their actions.

The film really takes self-styled religious cults and rakes them over the coals; in this case the group in question couldn’t be any more vile or selfish. But it’s not just a cautionary tale of religious extremism; The Commune is also a story of the archetypal dysfunctional family. Whether in the blood or in adopted cult form (or both), the dangers of philosophical delusions exerted over others are very clearly and dreadfully expressed. You can guess a portion of the ending, but the horrors continue to grow beyond expectation. Well done.

High production values yield some very nice cinematography and set dressing; the scenes are colorful and lively, but not so much so that they take away from the storyline or performances. Fine acting all the way around enhances the story; Jenny is well realized as the bratty young girl forced into a wicked world, while characters like Rhea and Clark are palpably deranged. Even the music and sound, composed by multiple groups and individuals, is professional and well-accomplished.

Regarding the benefit mentioned in the introduction, the young actress who played Jenny, Chauntal Lewis, lost a hand shortly after filming. A non-profit has been established, Believe and Become, and a fundraiser has been held to help purchase a prosthetic hand. The press materials don’t reference any specific websites related to these efforts, but you can most likely find more information at www.thecommunemovie.com .

– Tom Crites