Christopher Darton’s The Damnation is a remarkable debut into narrative feature filmmaking, blending social consciousness with atmospheric horror in an 80-minute story that lingers long after the credits roll. Made on a modest budget of $32,000, this film is as much about tenacity as it is about storytelling. The challenges of a three-year production—halted and reimagined midway—are reflected in the film’s layered narrative and its richly textured world.
Set in the fictional towns of Creek and Buffalo Mines, The Damnation explores the devastating effects of colonial greed and environmental exploitation on Indigenous lands. With the backdrop of a dying town—a shell of its former self after the mines closed—Darton introduces Sarah Blackice (Norma Sue Whitlow), a determined young woman confronting the intertwined mysteries of ecological decay, the disappearances of Indigenous women, and a supernatural force feeding on the community. The story deftly weaves Indigenous culture, folklore, and activism, creating a narrative that is both haunting and poignant.
The film boasts a strong ensemble cast. Norma Sue Whitlow’s Sarah anchors the story with resilience and emotional depth, making her feature film debut a standout. Ryan Lunn’s portrayal of Remi Gates, a conspiracy theorist and talk-show host, adds levity and intrigue, reminiscent of classic outsider heroes like Kolchak. Osawa Muskwa and Derek Groulx shine as monster-hunting cousins, blending humor and grit. The supporting cast, including Zeus Fleming as a beleaguered police officer and Dino Sicoli’s mysterious loner, add layers to the town’s lived-in feel.
Tim Denis deserves special mention for his chilling performance as a sinister priest—a late addition to the story that shifts the narrative’s focus from vampires to a more insidious evil rooted in colonial symbolism. This reimagined antagonist provides a powerful metaphor for the broader socio-political themes Darton aims to address.
Tobe Darton’s cinematography elevates The Damnation beyond its budgetary constraints. The use of high-end cameras like the Arri Alexa and Arri Mini gives the film a polished look, capturing the stark beauty of Southern Ontario’s landscapes. The sweat lodge sequences, the desolate mines, and the lush but ominous forests become characters in their own right, contributing to the film's oppressive and eerie atmosphere.
Despite the technical challenges faced by an inexperienced crew, the film's visual storytelling remains compelling. The lighting and framing work effectively to create tension, while moments of quiet reflection allow the weight of the story to sink in.
The three-year production journey of The Damnation is as compelling as the film itself. After initial filming stalled, Darton took a year and a half to reassess the project, scrapping the original Dracula-themed antagonist and rewriting significant portions of the screenplay. This pivot not only reinvigorated the story but also aligned it more closely with Indigenous issues, showcasing Darton’s ability to adapt and persevere.
The decision to resume filming in short bursts rather than extended shoots highlights the resourcefulness of the production team. The inclusion of additional footage in 2024 ties the story together seamlessly, demonstrating Darton’s commitment to delivering a cohesive and impactful film.
At its core, The Damnation is a socially conscious Canadian horror film that refuses to shy away from real-world issues. Drawing attention to the abductions and murders of Indigenous women, the film transcends the horror genre to become a vessel for cultural preservation and activism. Darton’s background in Indigenous Studies informs the script, adding authenticity and depth to the narrative. The supernatural elements serve as allegories for the exploitation and systemic injustices faced by Indigenous communities, making the film both timely and timeless.
Jim Casson’s score enhances the tension and emotional resonance of the film, while Frank Popp Jr.’s editing ensures a tight and engaging pace. The balance between moments of introspection and action is well-executed, making the film both thought-provoking and entertaining.
The Damnation is a triumph of independent filmmaking—a story of perseverance both on and off the screen. Christopher Darton’s ability to merge the personal with the universal, the traditional with the contemporary, and the horrific with the hopeful makes this a film worth seeking out. While it is currently on the festival circuit, its growing cult following suggests a bright future.
Fans of socially aware, character-driven horror will find much to appreciate here. With its mix of rich storytelling, compelling performances, and striking visuals, The Damnation stands as a testament to the power of independent cinema to challenge, provoke, and inspire. For updates on screenings and distribution, keep an eye on Blues Harp Productions’ social media.
Jessie Hobson