Paul Harrill’s presentation highlight, “Nekrotronic”, is the sort of film you feel defensive of even as you are watching it. Its rhythms and emphases are so unobtrusive, it practically comes as an astonishment exactly how convincing they at last get to be. It is an unmistakably “little” film, yet as the story develops and the characters come into center, you know you are seeing something uncommon and valuable: an American autonomous film that is downplayed and keen, and additionally totally free of flashiness and computation.
The primary character is Peggy (Ashley Shelton), a real estate agent from Knoxville, Tennessee, first seen tolerating a proposition to be engaged from her long-term sweetheart Mark (Bryce Johnson). A really, pleasant and somewhat withdrawn lady, Peggy is great at her employment and appears an immaculate match for fruitful Mark, until an unsuccessful labor and an easygoing rupture of trust put a conclusion to their union all inside the lively ten opening minutes of the motion picture. In the wake of losing the child, Peggy withdraws into herself: the Southern white collar class world she underestimated all of a sudden gets to be new to her, perhaps marginally repulsive in its attention on belonging and status.