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Apocrypha (2011)

Not Rated | | Drama, Horror, Mystery | 11 June 2011 (USA)
1:51 | Trailer
A woman with amnesia tries to uncover her mysterious past with a newspaper editor as they both develop vampire symptoms.



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Cast overview, first billed only:
Kat Reichmuth ... Maggie
Michael Fredianelli ... Griffith
Ray Medved ... Goodstein
William McMichael ... Jan
Selenia Velez-Mason Selenia Velez-Mason ... Yasha
Sean Dodd Rojas Sean Dodd Rojas ... Dex
Michael Nosé ... Victor
Henry Lee ... Laran
Elizabeth Holzman Elizabeth Holzman ... Norma
Jamie Lin Jamie Lin ... Jessica
Lindsay Gegenberg Lindsay Gegenberg ... Melanie
Briona Hendren Briona Hendren ... Chloe
Judi Whitby Judi Whitby ... Amanda (as Judi Hoagland)
Chelsea Paschall Chelsea Paschall ... Casey
Melyssa Andreasky Melyssa Andreasky ... Sue


Griffith Townsend (Michael Fredianelli) enjoys a successful career as senior editor at the San Francisco Chronicle with only one problem: he is plagued with amnesia. With the help of a washed-up psychologist (Ray Medved), he reluctantly unearths a number of odd habits which can only be described as unnatural and bizarre. Meanwhile, a strange woman, Maggie (Kat Reichmuth), awakens in Golden Gate Park with no recollections of how she arrived. Enlisting the aid of a friendly social worker (William McMichael) and local gypsy (Selenia Mason), she slowly begins to recall her true identity. With an increasing and unexpected desire consuming her, it becomes clear that Griffith and Maggie's new obsessions may be more than just memory loss as they become a dangerous and deadly threat to the city and each other. Written by Anonymous

Plot Summary | Add Synopsis

Plot Keywords:

amnesia | blood | vampire | See All (3) »


Drama | Horror | Mystery


Not Rated


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Release Date:

11 June 2011 (USA) See more »

Filming Locations:

Burlingame, California, USA See more »

Company Credits

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Technical Specs

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Aspect Ratio:

2.35 : 1
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References Buffy the Vampire Slayer (1992) See more »

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User Reviews

The Icy Blues of Too Much Sun
5 September 2011 | by twolaneblSee all my reviews

Little known but pertinent fact: Apocrypha director Michael Fredinelli is related to Tony Fredianelli, a guitarist whose most prominent gig was in Third Eye Blind but whose real work happened in the late 80s as the guitarist for a speed metal outfit called, jeez, Apocrypha. Now, allegory's the cheapest form of analysis, but considering the movie's focus on the landscapes and destroyed minds of California, we could easily see the movie's exercises in style as a knowing chastisement for sell-outs.

The common intertexts for the film seem to be somewhere between Martin and The Addiction. But I'd make a wager that the director will likely find annoying and say that Twilight's the key intertext. That's not to say that Fredianelli and Reichmuth's script apes that series' Teen Heart Street logic. But no one can deny that the use of color correction here definitely echoes the cinematography in that run of recent Pacific Northwest vampire movies. The thing is, though, this movie doesn't take place in the Pacific Northwest, and that makes all the difference. The characters profess an aversion to the sun, but a pair of shades helps the situation. It's almost as though these characters have seen too much sun, have been around a crumbling culture of go-getters so long that their vision, along with their behavior, has been irrevocably turned as a result.

The movie's slow build in its first half hour allows for these kinds of reflections, but in terms of narrative, we meet with the most polished yet of Wild Dogs' classically-focused efforts. The ebb and flow of the narrative works well here, supplying the familiarities of the genre with the occasional shift in approach. There are some stock elements that fall flat (the fortune teller business seemed particularly convenient to connect disparate plot elements, and the CG is obviously a bit limited (about half of the scenes with vampire ephemera are effective; those with CG eyes end up being a tid silly by default). If nothing else, we can see Apocrypha as navigating a very tricky balance (that same tricky balance that Hawks, Fuller, Ray, Peckinpah, and others tried) riding between a hyper-codified classical aesthetic and interstices of personal investment. It may be far from Fredianelli's masterpiece, but in terms of expressing a state of being, we can see here a singular talent at work at a very particular moment in both popular culture and, in a sense, in the development of a directorial personality.

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