Cinema’s legacy of transgression continues with experimental feature film by underground Native American film artist Dakota Ray Dante’s Shadow of Sin. Dante (Dakota Ray), who’s metal like f ** k, drank absinthe, sniffed hard drugs, and thought about his old flame Alexis. Dante remembers their off-switch romance, how he chopped Alexis into small pieces and buried them long ago behind “The Boleskin House”, his friend’s family vacation home. Dante of course wishes to be able to find his remains to desecrate them further. Luckily his also metal as f ** k friend Mahoganny (Fred Epstein) just inherited “The Boleskin House” from his late father, which “accidentally” stopped working.
Mahoganny considers wasting his inheritance on alcohol and cocaine and invites Dante. While gorging himself on drugs at the vacation home, Dante meets Mahoganny’s grandmother (Maddison M.), who is 92, deaf, mute and sitting in a chair. Mahoganny informs Dante that his grandmother is so helpless that she cannot stop Mahoganny from feeding him and licking his ass. While digging up Alexis, Dante secretly hides eight balls of precious cocaine in a dead rabbit (The White Rabbit) because he doesn’t trust Mahoganny. Good thought, because Mahoganny intends to assassinate Dante this weekend. Will our hero survive? What hero? No one here except nasty cocaine demons, evil dolls and a lot of dark magic. As Samhaim once sang: All the murder, all the guts, all the fun. With two balls of Satan.
“…considering wasting his inheritance on alcohol and cocaine and invites Dante.
Dakota Ray directed, wrote, performed, produced, shot, edited and designed for the production Dante’s Shadow of Sin. Before we see how grotesque and smelly the plot is, it’s worth pointing out how well done this movie is. Ray claims to be self-taught, but the level at which he is working on his eighth underground feature film is extraordinary. The visual vocabulary of smart angles and textures combining close-ups with plenty of smart edits keeps the whole thing from dragging out. There is also this amazing black and blue monochrome that is used everywhere. It looks like the tone of a 20th century black and white television reflection, like Clowes’ color scheme on the original Ghost world graphic novel. This not only produces dynamite storm footage, but makes the spooky visuals even more spooky. The soundscapes that Ray and others use to keep the feeling haunted throughout. It was wise to use this throughout the use of Italian doom band Naga’s sludge metal sparingly, as their music, while great, won’t be everyone’s cup of poison. Additionally, Ray does a superb deep, growling black metal voice, where it sounds like a demon without drifting into a cookie monster.