Trim Season: High-Stakes Horror… See What I Did There?

Weed and horror, a combo as classic as peanut butter and jelly, or better yet, Cheech and Chong. Ariel Vida’s Trim Season takes us through the dark underbelly of California’s Emerald Triangle, a place notorious for its high-quality cannabis and mysteriously disappearing people. This film isn’t just another stoner flick; it’s a twisted tale that combines supernatural horror with gritty, real-world struggles. Let’s light this joint and dive into the good, the bad, and the bloody of Trim Season.

Trim Season follows Emma (Bethlehem Million, Sick), a down-on-her-luck woman whose life is falling apart faster than a cheap bong. Fired from her job and about to be kicked out by her roommate for not paying rent, Emma’s desperation hits an all-time high. Enter Julia (Alex Essoe, Doctor Sleep, Midnight Mass, The Last Stop in Yuma County), Emma’s best friend, who suggests a night out to forget their problems. It’s there they meet James (Marc Senter, Starry Eyes, Old Man, Black Out), a sketchy recruiter offering a too-good-to-be-true job: two weeks of trimming marijuana for $5000. With no other options, Emma reluctantly agrees, joining a motley crew of trimmers in the secluded mountains of Northern California.

Upon arrival, they meet the enigmatic Mona (Jane Badler), the farm’s owner who channels a mix of Morticia Addams and a dominatrix. Things quickly spiral into the bizarre as the trimmers realize Mona isn’t just growing weed; she’s cultivating something far more sinister. As the supernatural elements kick in, the group must navigate a treacherous path filled with occult rituals, deadly secrets, and the ever-present threat of Mona’s malevolent powers.

Ariel Vida, known for her work in production design, makes a strong directorial debut with Trim Season. Her experience shines through in the film’s atmospheric visuals and meticulous set designs. Vida creates a world that feels eerily alien, blending the natural beauty of the Emerald Triangle with unsettling, almost dreamlike imagery. The pacing is deliberate, building tension through subtle cues and creeping dread. However, there are moments where the film’s tempo drags.

The screenplay, co-written by Vida and David Blair, is a mixed bag. On one hand, the dialogue is sharp, filled with witty banter and character-driven moments that ground the story. On the other, the plot occasionally meanders, losing focus amidst the myriad of subplots and mystical elements – one pet peeve I tend to have with supernatural flicks is not being able to put my finger on the ‘rules’ which happens here. The story’s premise is intriguing and feels truly novel, but it sometimes feels like the writers bit off more than they could chew. The blend of real-world issues—financial desperation, the lure of easy money, and the exploitation of workers—adds depth to the narrative, though it’s the supernatural twist that keeps you hooked.

The cast delivers solid performances across the board. Bethlehem Million as Emma brings a raw vulnerability and quiet strength to the role though admittedly was written in such a way that occasionally annoys. Nonetheless, her transformation from a timid, desperate woman to a resilient survivor is both believable and compelling. Alex Essoe, as the supportive yet impulsive Julia, provides a perfect counterbalance to Emma’s cautious nature. Bex Taylor-Klaus shines as Dusty, a nonbinary trimmer with a tragic past, adding layers of complexity and authenticity to the character. There is, however, a trimmer with a diagnosis of congenital insensitivity to pain. It’s possible I missed the thematic significance of this, but it felt like a very stupid plot device.

But the real scene-stealer is Jane Badler as Mona. Badler’s portrayal of the sinister matriarch is both campy and chilling, a fantastic display of villainy that commands every scene she’s in. Her ability to oscillate between charm and menace kept me on edge, unsure of what she’ll do next.

Trim Season delves into several heavy themes, including the exploitation within the cannabis industry, the desperation of financial instability, and the lengths people will go to for survival. The film also explores gender dynamics and the power structures within marginalized communities. Through the character of Mona, the story examines the corrupting influence of power and the dark allure of the occult.

The supernatural elements serve as a metaphor for the characters’ internal struggles, manifesting their fears and desires in horrific ways. The use of witchcraft and mystical rituals adds a layer of gothic horror that contrasts beautifully with the film’s modern setting.

One of the film’s greatest strengths is its ability to blend genres seamlessly. It’s not just a horror film or a stoner movie; it’s a rich tapestry of dark comedy, supernatural thriller, and social commentary. The visual style is another standout feature, with Luka Bazeli’s cinematography capturing the lush, eerie beauty of the Emerald Triangle. The practical effects and gore are very much appreciated, providing visceral scares.

The character development is also commendable. Despite the film’s ensemble cast, each character is given enough screen time to develop their own arcs and backstories. The exception would really be Mona’s sons who feel quite flat – I can’t bring myself to care about them. Nonetheless, the depth of most of the characters makes the horror more impactful.

While Trim Season excels in many areas, it’s not without its flaws. The pacing, as mentioned earlier, can be sluggish, particularly in the film’s first half. The plot occasionally gets bogged down in its own mythology, with certain supernatural elements feeling under-explored or inadequately explained. I actually wish I understood the lore of the film more.

Additionally, some of the secondary characters feel underutilized. While the main cast is well-developed, others, like the security guards, Mona’s sons, and the CIP gal lack depth and serve more as plot devices than fully fleshed-out individuals. This probably could have/should have been tightened up a bit more.

Ultimately, Trim Season is refreshingly unique horror flick. While I personally think some of the hype I heard around the film on the festival circuit was a bit over-blown, Ariel Vida’s directorial vision, combined with strong performances and a rich thematic core, makes for a film that is both entertaining and thought-provoking. Trim Season has really puts Ariel Vida on a must-watch director’s list. So, pack a bowl, turn off the lights, and get ready for a trip. This is worth a watch!