Luna Carmoon’s Hoard: A Raw, Lyrical Debut

There’s a popular saying that one man’s trash is another man’s treasure. This indicates that the value of something is relative, depending on the individual’s perspective and needs. Your experiences and viewpoint are unique and are the most valuable things you have: your voice, your distinctive mark, your way of seeing things.

Luna Carmoon’s Hoard makes me think about how difficult it is to find a fresh personality in today’s world, so saturated with images. With a script written by herself, she presents a universe that tries to find lyricism in the trash, in the waste, in things that don’t fit into society. She draws from the social cinema, from directors like Mike Leigh, but with the raw intensity of Alan Clarke or Lindsay Anderson, combined with the delicacy and humanism more typical of a different kind of cinema, like the Joachim Trier’s movies. All of this is filtered through her own unique lens and iconography, which manages to capture your interest in the metaphorical puzzle she presents.

The film is told in two timelines and is a character study. The concept revolves around the difficult life of a girl raised by a mother who brought her up in a somewhat questionable manner, in a house full of trash, trauma, and unresolved issues. The story also explores how this girl tries to rebuild her life. But everything goes awry with the arrival of Michael, who forces her to relive her traumas, realize she is more fragile and self-destructive than she thought, and understand that she still needs to forge her own identity. It’s a late coming-of-age story that is deeply devastating and bleak, though also bittersweet, with a small space for hope through self-acceptance.

Subtext is key, not only in any film but in any worthy scene. Themes should not be verbalized; they are something the viewer must deduce. The richness of any art lies in its diversity of interpretations. One of the main goals of a work of art is, on the one hand, to be simple and understood perfectly at first glance. But the trick is that the more you delve into it, the more you realize that no matter how many times you analyze it, there will always be subtleties and details that escape you. And these are lessons that, fortunately, some creators still seem to keep in mind.

The camera work is very empathetic, and what this film offers is an emotional rollercoaster that takes you through various extremes. The editing opts for a certain classicism, aside from the ellipses, but with an emotional continuity. This doesn’t mean that the narrative is classicist. Following McKee’s hegemonic classification, this would be a miniplot where characters and their internal conflicts prevail, though with a more “auteur” rather than traditional structure. It’s a sensory experience where smell, one of the senses not accessible to audiovisuals, plays a crucial role, and the director manages to convey all this.

Not everything works, and some decisions might take you out of the story, but these are rare, and it’s always better to take risks than not to dare at all (especially in a debut film). In any case, the film has a strong aesthetic component and very distinct identity marks that anticipate a career with much potential.

The cast is led by Joseph Quinn, the future Human Torch in Matt Shakman’s The Fantastic Four or the iconic Eddie Munson from Stranger Things. He delivers a very visceral performance, showcasing great versatility while maintaining his charisma. He’s an actor who manages to evoke empathy with his looks and facial gestures. However, the absolute spotlight belongs to actress Saura Lightfoot Leon, who skillfully handles a very demanding role. It’s a character that faces severe psychological issues, making it easy to overact. It’s a very fine balance that must be maintained to preserve credibility. This balance may vary depending on the viewer’s limits, but the actress’s commitment is undeniable. The film’s success largely depended on the cast, and they live up to expectations. In my opinion, they’ve delivered excellently.

Luna Carmoon is a director taking her first steps. This is her debut film, and it’s truly remarkable. We should keep an eye on where she leads us with the decadent beauty of the world she presents. Moreover, the British film industry proves to be one of the most daring and nonconformist industries still in existence. I hope some of its rebellious spirit is transmitted to others…

Recommendations I believe that are related to this film:

• Eraserhead (1977. David Lynch.): For its oppressive atmosphere and depressing, mundane lyricism.

• If… (1968. Lindsay Anderson.):: For its individualistic spirit of rebellious youth that doesn’t fit into a system that crushes personality.

• Zazie dans le métro (1960. Louis Malle.): For its anarchic youthful spirit.

• Stoker (2013. Park Chan-Wook.): For its portrayal of a young, extreme, and unique character.

• Kids (1995. Larry Clark.): For being the quintessential generational film of Generation X and for its naturalistic texture.