The Unseen – Review

This film was screened at the 21st annual Tallgrass Film Festival.

Kansas City can be a magical city but J.S. Hampton’s The Unseen brings a more literal meaning to that idea. Witches, warlocks, and a whole lot of weed make this feature film debut shine.

Cela (Ashley Kennedy) leaps from 1850s Louisiana into the head of her modern descendent, Dez (Brianna Woods). Cela is a witch, trained by her friend and sister-in-magic Farrah (Meredith Noël), but Dez is just a barista who really hates her boring job. She lives rent-free with her friend Davone (Donovan Woods), smoking up and floating through life without really letting go and embracing who she is. Her passion may be creating music, sure, but she won’t show it to anyone outside of her home. When Cela pops up in her head and begins leading her on the path of witchdom a confidence begins to bloom. The only problem is that a witch hunter (Kyle Dyck) is on her trail, still searching for Cela after 170 years.

This sweet if dicey coming-of-age tale is grounded in the local flavors of Kansas City, a character unto itself in the film. A large part of the magic comes from its locations and home feel. The firefighter statue, an Arthur Bryant’s t-shirt (best BBQ in the city, fight me), and some prominent Westport shots make everything feel alive and breathing. Film often utilizes major cities but the inner states often go forgotten. Hampton has lovingly captured the feel that makes this place special.

The Unseen contains a few very special performances, notably two warlock gentlemen (Walter Coppage, Granvile O’Neal) in a separate plane of existence and a magic supplies dealer (Robert Coppage) that knows his shit even if he won’t participate in its use. The struggle for me comes with what would normally be an inner monologue put out into the world. Stories about the voice in your head can be difficult to navigate as most of it should blatantly be a silent conversation that has to be voiced for an audience. Brianna Woods nearly saves it with her effortless charm and genuine joy but Kennedy isn’t giving her much in return, rendering some of the scenes lifeless. They’re often saved by Donavan Woods and his mixture of goofiness and sincerity but to my frustration it mostly never lands.

There are some big asks in the film’s logic at times. There is a child that Davone makes cookies for that is seen once and never again, leaving the audience wondering what the situation is. There’s the twist at the end, one that hasn’t been set up and comes completely out of left field in a manner that genuinely surprised me but felt hollow in its lack of conviction.

My issues with some points aside this is a good-looking film. Small-budget indies can often struggle to fully display their crew’s chops but Marcus Guider’s camera work takes The Unseen to a level it might not have otherwise achieved. Minimal locations and used to their full potential and are shot wide, allowing the actors to play in the space. It’s a fun way to use Kansas City and allow for some fun physical comedy, particularly from Brianna and Donovan Woods.

The Unseen may be a fairly uneven film but it manages to charm nonetheless. Some fun performances, a story that just needs a bit of polish, and a genuine love for its setting make this a fun time that was clearly a joy to make for everyone involved.