‘Invoking Yell’: Black Metal Meets Queer Women In New Chilean Found Footage [Unnamed Footage Festival 2023 Review]
Patricio Valladares‘ found footage film Invoking Yell is unique not just in its subject matter, but in its inherent femme energy. So often found footage is either about a group of men or a mixed group, but almost never about just a group of women. With Invoking Yell, which had its world premiere at the 2023 Unnamed Footage Festival, Valladares works to flip the script with dangerous queers and an all-female cast that is funny, messy, and downright desperate to be famous.
In 1997, Andrea (María Jesús Marcone) and Tania (Macarena Carrere) make up the self-described “depressive suicidal black metal” band Invoking Yell. Cameraperson Ruth (Andrea Ozuljevich) is filming both their music video and behind-the-scenes footage, while also essentially auditioning to join the band. They travel to a supposedly haunted location in the woods to record the voices of spirits to mix into their upcoming demo tape. But as they trek into the woods, the vibes seem to shift and the night takes a bizarre turn.
Invoking Yell imagines a past where an all-female black metal band existed in Chile, and really just existed period. Valladares interrogates the misogynistic history of the genre, while also paying respect and showing love for the music through new narratives. The film’s themes also become an interesting metacommentary to how the film itself is functioning within the world of found footage.
From a technical perspective, Invoking Yell beautifully captures the VHS tape aesthetic with its grainy film texture and both visual and audio glitches at seemingly random moments. A lot of care is poured into creating that atmosphere and making this feel like a DIY music video found on an unmarked tape. That same amount of attention to detail is given to layering the film’s audio, especially as Andrea and Tania record EVPs and play back their findings. Sounds of grating black metal layered over distant screams and the ambient sounds of the woods. It’s an overwhelming sonic experience that captures the mindset of three women stoned off their asses making music in the woods.
Even through the glitches, cinematographer Vittorio Farfan is able to capture the beauty of the woods and mountains of Chile. Most found footage seems to take place in the same stretch of nondescript forest. But here, Chile’s fall foliage contrasted with vast rock faces and babbling brooks gives the setting an otherwordly feel. Paired with the hazy look of the footage, Invoking Yell‘s atmosphere feels dream-like.
In contrast with the dream-like atmosphere is the shocking violence that punctuates the film’s third act. Found footage already feels inherently cursed and voyeuristic. But with a particularly prolonged sequence, it becomes almost uncomfortable to watch. While briefly, Valladares pushes the envelope of onscreen violence within found footage.
As the sun sets, the film’s writing takes a bit of a repetitive turn as the group continues to bicker relentlessly as Andrea tries to exert dominance and control over them. The emo personalities that were first endearing become grating. While the climax is shocking in its violence, what follows feels abruptly untethered and confusing. While I celebrate abstract found footage, it has to feel earned. In this case, Invoking Yell doesn’t quite come together enough to fully nail its landing.
Despite its pacing issues, Invoking Yell is an exciting film that opens up new possibilities for found footage. Valladares shows how to make all-female found footage while tackling a subculture never seen in the subgenre. It’s violent, it’s creepy, it’s a shining example of contemporary international found footage.
Summary
‘Invoking Yell’ is violent, creepy, and a shining example of contemporary international found footage.
