Zanotti, however, demonstrates extraordinary skill and creativity. And in addition to her range of talents and captivating style, she and Amond utilize unique cinematic tools, such as the black box segments, to advance a complex narrative. This rarely used device allows Faye to read from her supposedly finished novel to contextualize what is happening in the cabin. 

Zanotti’s approach to Faye combines heartbreak and humor. And her character’s self-recrimination and grief are palpable. To anyone who has struggled with loss, this is a relatable film. Faye also struggles with obsessive-compulsive disorder. In one snarky OCD moment, she admits defeat allowing the off-center light fixture to remain.

Amond and Zanotti achieve a remarkable amount with such limited resources. Faye is nothing short of an indie horror masterpiece shot by a five-person crew on a lilliputian budget. 

The camera’s movement is realistic- as if there were a second person in the cabin watching Faye’s movement, with the static black box scenes complementing the action. These segments work in part to absolutely flawless editing. 

In horror, timing is everything, and the movie’s pacing is pitch-perfect.

The jump scares are rarely telegraphed and consistently linger, creating more than an initial shot of adrenalin. And the decision to cast Zanotti as Captain Howdy, the apparition, was brilliant. Her physicality makes your skin crawl more than even the most realistic CGI demons. And even though the spirit is terrifying, it is impossible to look away.

Produced by AZ if Productions, Faye is available on Demand and on Prime Video. Grab the popcorn and the biggie wine glass. Faye is absolutely, positively one to watch.