Hoard

            We get a lot of great things from our parents, from our looks to where our moral compass points, but not everything is positive. We also inherit traits from them that can haunt us for the rest of our lives. The crazy thing is that we might not realize it, as it could be something we’ve forgotten. But then a trigger comes, and we find ourselves in a situation we know little about. All of this is a way to introduce you to Hoard, a film from Luma Carmoon that will make any neat freaks out there cringe as they watch it.

In the middle of the 80’s, somewhere in London, a woman named Cynthia (Hayley Squires) and her young daughter Maria (Lily-Beau Leach) live in what, from the outside, looks like a normal house. Inside, though, is a mountain of debris, as Cynthia is a hoarder—a life that Maria has adjusted to. After an accident, Maria is put into a foster home with Michelle (Samantha Spiro). The next time we see Maria (Saura Lightfoot-Leon), it is ten years later, and she appears to have become a normal eighteen-year-old. That changes with the arrival of Michael (Joseph Quinn), who was once fostered by Michelle some years ago. Slowly, Maria starts to collect trash, hiding it, as everyone else in the house wonders what that smell is. The spiral only gets worse, as Michael seems to add gasoline to the fire burning inside of her. The two of them have a strange and unique relationship that is difficult to describe. The question is, who is the real Maria?

Written and directed by Luma Carmoon, Hoard’s screenplay feels poetic at times, yet boldly unsentimental. Carmoon’s story deals with grief and mental illness, and while it can be chaotic and overstuffed at times, the film really finds its footing in its second and third acts. You can’t help but feel the personal touch of Carmoon throughout the course of the film, as she has crafted a path through the minefield of grief and guilt. There are even times when it makes you feel wrong to be watching, as it plays out in such a deep and personal way.

Hoard is a striking debut, immediately drawing you into its world, even if you don’t fully understand it. It shows us the scars that abuse and neglect can leave and how they never really go away, no matter how much we think we have healed. Carmoon’s story deals with many themes, from abuse and motherhood to identity, but all of it is delivered more powerfully because of the performances. Lightfoot-Leon delivers a touching performance as she fully embraces the contrasting sides of her character, making it easy to relate to her, even if we have never experienced her kind of trauma. Joining her is Quinn, whose character is not the most likable, but the chemistry between him and Lightfoot-Leon is combustible. Hoard does, at times, feel a little long, but it never loses its charm, delivering one of the more unique and unsettling coming-of-age stories you are likely to see.