A debut film that offers glimpses of solid potential, Samuel Clemens‘ The Drowned (formerly known as The Waterhouse when it premiered at FrightFest in 2023) is a psychological horror that borrows from the crime genre and Greek myth to interesting, but uneven effect.

Three art thieves converge seperately on a remote cottage – a stolen masterpiece in tow – by a picturesque but rather forbidding lake. Eric (Alan Calton) arrives first, followed by his boyfriend Matt (Dominic Vulliamy), and Paul (Michelangelo Fortuzzi). The fourth member of the gang, Matt’s mother Denise, is nowhere to be seen. Eric finds a smear of blood by the lake and a bangle belonging to the missing woman, yet cleans up the scene and keeps the discovery to himself.

Still, the mystery of Denise’s location starts worming away at the trio. Even worse are moments of dislocation where the three find themselves by the lakeshore with no memory of how they got there. Just as they buckle in for the evening ahead of a rendevue with a boat that will act as a getaway vehicle, three young woman appear having gotten into difficulty on the lake. Eric offers assistance, and the trio seem friendly enough – very friendly, in fact – but may not be all they seem.

The Drowned relies on atmosphere rather than action. Even at a tight 84 minutes, most of the first act is purely scene-setting, introducing the characters while only hinting at their connection and why they’re hiding out at the tranquilly sinister location. Clemens spends a lot of time exploring the interior of the house, interspersed with moody shots of the lake that bring to mind the old ‘Spirit of Dark and Lonely Water‘ public safety ad. The juxtaposition undercuts the cottage as a place of refuge, with shots of the cottage from the lake suggesting that the three men are being watched by a baleful presence. It’s an assured piece of tonal control.

There’s also a lot going for The Drowned. Clemens has constructed the film thoughtfully, emphasising a subdued but evocative colour palette and a gorgeous, disquieting choral score that hints at revelations to come. Also, the frequent, diverse allusions to myth and legend aren’t fully necessary to figure out where the narrative is going, but they make it a richer experience.

What detracts from that richness is dialogue that feels like it could have done with a few more drafts, as it leaves some solid actors adrift at times. This feels more glaring given the patient, some would say ponderous, pacing. There isn’t the narrative zip that can carry some clunkier moments along in momentum. The appearance of the three women enlivens adds some drive, but again the dialogue gums up the works, particulary during an interminable game of truth or dare that can’t bear the portentous weight placed upon it.

Ultimately, The Drowned is more intriguing in what it’s attempting than in its actual end product. There are character dynamics – a chewily Oedipal one in particular – that don’t have the impact they should. Neither does the denoument, which is pleasantly ambiguous but will come across as anticlimactic for many whose patience was already tested by the cautious sowing of its narrative seeds. If Samuel Clemens can bring more storytelling drive – and a more ruthless approach to a script – to some undeniable technical flair, his next project could be a winner. As a debut however, The Drowned frustrates more than it engages.

Available on digital download from Mon 6 Oct 2025