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From Not Picking Up Dog Poo to Killing Your Wife and Everything in Between
Richard Hunter’s debut film, “Foul Evil Deeds,” takes a distinctive approach by drawing from the traditions of European arthouse cinema. Rather than following the well-trodden paths of British social realism, often associated with directors like Ken Loach and Mike Leigh, Hunter looks to influencers like Ulrich Seidel and Michael Haneke. “The early Ruben Östlund as well. The Britishness, inherently, obviously comes out through me,” Hunter shared with Variety.
Hunter’s journey into filmmaking began in advertising. “I did documentary at university, and that led into music videos, and from there into commercials. And there I found my wet place in that world,” he explained. He was inspired by figures like Michel Gondry, Chris Cunningham, and Spike Jonze, who successfully transitioned from commercials to feature films.
The narrative structure of “Foul Evil Deeds” comprises interwoven stories of human wickedness, ranging from the trivial to the atrocious. “Every single one is based on a point of reality, something that happened that then has been adapted into what you see,” Hunter remarked. This method allowed him to create a fragmented anthology rather than a linear plot.
Drawing inspiration from works like Robert Altman’s “Short Cuts” and Roy Andersson’s style, Hunter does not confine himself strictly to the plot but focuses on character behaviors driven by single ideas. These moments encapsulate the spectrum of human actions, from minor misdeeds to severe acts of violence. “There’s playfulness in there, but there’s also evilness,” Hunter noted.
Filming took a year to complete, with each vignette shot separately and edited continually. “It was almost a luxury,” Hunter said. Utilizing a mini-DV video camera from 1993, the footage was later upscaled to DCP. This technique lent a home-video aesthetic to the visuals, enhancing the feeling of voyeurism.
Hunter aimed to create a sense of inevitability in his storytelling. “I wanted an inevitableness to it, where it felt like this is always happening, and the camera just happens to be this little square showing you this bit and this bit,” he said. This approach creates a distancing effect, presenting actions neutrally whether mundane or significant.
Casting director Ilenka Jelowicki and editor Matthew J Brady played crucial roles in the film’s production. “They were the tentpoles of the production,” Hunter credited. The film, a Wayes Production, was produced by Federica Schiavello, marking her first feature film. A sales agent for the film is yet to be attached.
Richard Hunter considers his next project a follow-up to “Foul Evil Deeds.” “I have many scripts in the drawer, but the next two that I want to do are a continuation,” he revealed.
Source: Variety
