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Exploring the Whimsical Darkness of “Yule Log 2: Branching Out”
Casper Kelly has built a distinctive identity in the realm of surreal comedic horror, marked notably by his acclaimed short film “Too Many Cooks.” With the follow-up to Adult Swim’s unexpected holiday special, “Yule Log 2: Branching Out,” Kelly flips the script on his usual approach.
“Many sequels tend to embrace a darker tone, so I thought it would be refreshing to do the opposite,” Kelly remarked during an interview.
The original “Yule Log” aired on Adult Swim in December 2022, initially appearing as a simple video of a crackling fire. However, as the runtime progressed, the cozy atmosphere dissipated, unraveling a bizarre narrative rife with generational trauma, culminating in a series of unexpected twists, including an incestuous serial killer family and an alien encounter. The final act transformed into a surreal exploration of deep-rooted guilt, encapsulating an unusual storyline surrounding a log.
In contrast, “Yule Log 2: Branching Out” adopts a much lighter and more whimsical tone, a decision that partly stemmed from Kelly’s newfound fascination with Hallmark movies. Having recently viewed one, he expressed a mixture of amusement and emotional engagement that inspired him. “I found it both funny and surprisingly sentimental,” he noted.
Shot over approximately four weeks in Cartersville, Georgia, this sequel serves as both a playful critique and a celebration of Hallmark clichés. Set after the events of its predecessor, the film centers on Zoe (played by Andrea Laing), who, having undergone facial reconstruction, finds herself in a town obsessed with cheerful holiday spirit, quaint shops, and attractive singles. As she navigates this world, she also contends with the peculiar threat of a flying yule log that has monstrous capabilities reminiscent of horror classics like “Evil Dead.”
To enhance the film’s unique narrative perspective, Kelly introduced the “log cam,” a practical effect that places a log directly in front of the camera, allowing viewers to see events from its viewpoint.
“Every Hallmark trope you can think of makes an appearance, only to be subverted in humorous ways,” Kelly shared. Notably, Zoe has a flamboyant best friend whose role in the story serves as both comic relief and a playful commentary on character archetypes. The influx of handsome residents, often shirtless and lamenting their love lives, features actual actors from Hallmark films, further adding to the self-referential humor.
Among the film’s amusing critiques is a lost family recipe that intriguingly bonds Zoe to her love interest, which turns out to be a concoction called shrimp fudge. “My goal was to push the absurdity a bit further,” Kelly remarked.
The cinematography significantly shifts as the film unfolds. When Zoe is in moments of tension, the visual tone employs a blue hue and a letterbox effect, reminiscent of horror films. However, as she acclimates to the cheerful holiday setting, the colors brighten, and the letterbox effect dissipates, cleverly manipulating audience expectations.
Particularly during the town’s annual Yule Log Festival, the film showcases residents celebrating against a backdrop of Hallmark-like cheer, only for the tone to shift abruptly when they realize they are being hunted by a murderous log. The contrast between scenes is emphasized by a score crafted by Rodney Asher, known for his work on “Room 237,” which parallels the movie’s shifts from festive cheer to stark terror.
By the climax, the film leaves viewers uncertain about which narrative dominates—horror or holiday cheer—reflecting the chaotic essence of “Branching Out.”
“The underlying question is about one’s perspective on life: do you choose optimism or fear?” Kelly explained, noting that this theme resonates throughout both films.
Similar to its predecessor, the conclusion of “Yule Log 2” invites multiple interpretations. Was Zoe’s harrowing experience merely a figment of her imagination while recovering, or was it an actual event? Kelly has hinted at a potential third installment, suggesting it might take a more definitive approach but still cherishes the ambiguity introduced in the sequels. “I have some concepts in mind,” he concluded.
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www.thewrap.com