Orchid: A Discomforting Debut

Sometimes, nothing is as scary as being the object of someone’s desire. It can be uncomfortable, objectifying, and perhaps even dangerous. In Jacque Rabie’s debut feature Orchid, we witness what can happen when that infatuation is taken too far, and when a third person is added to the mix. As with any recipe or film, results may vary.

Crazy in Love

Gus (Jacob Vaus) has been a live-in caretaker for Henrietta’s (Varda Appleton) secluded home for four months now, washing windows, tending to plants, and so on. He got the job on his mother’s recommendation, which may be his only asset, given his off-putting demeanor and behavior. Like an orchid, time has allowed for Gus’ desire for Henrietta to foster and bloom. However, rather than being nipped in the bud, when he confesses his feelings for her, she allows him to get closer to her. 

Things seem to be going well for good old Gus, until Henrietta’s long-lost lover Teddy (Ron Grigsby, also seen in Vaus’ own feature Scuba) returns from his escapades in Mexico. The already-dark and off-kilter vibes morph into something much more sinister. Despite Teddy’s attempts to befriend and even bond with the downcast and off-putting Gus, his attempts to rekindle his romance with Henrietta drive a wedge between the three of them. As Gus’ displeasure festers into jealousy and rage, life in this idyllic home is soon to become a nightmare for everyone involved.

A Deftly-Made First Feature

In an airtight hour and nine minutes, this micro-cast trio put in a lot of work. Vaus’ Gus dominates the runtime, stretching out each discomforting syllable from beneath dead eyes that never betray what his true thoughts might be. In every scene, you’re waiting for the other shoe to drop, anticipating the danger clearly seen brewing beneath the surface. Appleton deftly balances the demeanor of a woman, lonely and welcoming affection of any kind, with that of someone who realizes, too late, that a relationship has gone too far. Grigsby’s Teddy has an interesting complexity about him, that of a semi-nomadic, guitar-playing free spirit who’s back to plant what few roots he knows how. As his relationship with Henrietta renews, his clashes with Gus become more frequent and escalated, depicting a range of emotions from one scene to the next.

Where Orchid blossoms is in its tone. Rabie’s editing, coupled with Khoi Nguyen’s cinematography and dark lighting, delivers an ominous, uncomfortable experience where you’re never quite sure what’s going to happen. We are trapped in this house along with them, and it’s that discomfort that really highlights this film, amplified by the tense, percussive score of Jean-Marc Yee. It’s that uncertainty, though, that leaves you waiting for a payoff that never truly comes. At least, not in the way you’d expect. There is also a surprising, yet impressive use of animation and VFX that begin as dream sequences and culminate in the breakdown of our characters to their basest, most primal desires which deserves a special shoutout.

Orchid: Worth a Sniff

Rabie and team have given us a solid debut feature film, with commendable performances and a look that sets the tone for an already-tense premise. While the third act left a bit to be desired, which perhaps could have been remedied with a longer runtime, I’m curious to see what this multi-hyphenate filmmaker will do in the future. Fans of small indie films with tense vibes should give it a shot, especially with such a short runtime.

Orchid is now available on Tubi or for rent on Prime Video.