Exclusive Trailer for Graham Swon’s An Evening Song (for three voices) Presents a Hypnotic 1930s Melodrama

An integral figure in New York City’s independent film scene, having produced films by Ricky D’Ambrose, Joanna Arnow, Dan Sallitt, Matías Piñeiro, Gina Telaroli, Ted Fendt, and more, Graham Swon premiered his second directorial feature An Evening Song (for three voices) on the festival circuit. We’re thrilled to exclusively announce the film––after playing at FIDMarseille, First Look, Berlin Critics Week, and more––has been acquired by Factory 25 for a theatrically roll out beginning at NYC’s Anthology Film Archives on May 24 and 25 and at L.A.’s 2220 Arts and Archives on May 29, presented by Acropolis Cinema, with additional cities to follow. Ahead of the release, we’re also pleased to present the first trailer.

An Evening Song stars Deragh Campbell, Hannah Gross, Peter Vack, and Neil Brooks Cunningham. Here’s the synopsis: “1939, somewhere in the American Midwest: to combat former child-prodigy writer Barbara Fowler’s (Hannah Gross) debilitating agoraphobia, she and her pulp-fiction scribe husband, Richard (Peter Vack) move to the countryside where they become entwined in a love triangle with their deeply religious maid (Deragh Campbell) in this trance-like examination of a world destined for extinction.”

Blake Williams said out of the film’s Film Fest Knox premiere, “Shot in Fairfield and around the nearby Des Moines River, An Evening Song is a 1930’s-set melodrama that is quite true to its title: three voices—pulp author Richard (Peter Vack), his sultry wife Barbara (Hannah Gross), and their badly burned housekeeper Martha (Deragh Campbell)—participate in a bucolic love triangle amidst the area’s aged hills, their prayers, whispered dreams and earnest glares woven together in a nearly endless barrage of crossfades (I suspect I might be able to count the number of hard cuts this film contains using only my hands). Adding to the film’s hypnotic tone were a woozy (and, frankly, beautiful) drone score by Rachel Evans, and a startlingly impressionistic image, which was achieved by capturing the footage though a sheet of custom ground glass, and creates intense vignetting and gives the effect of watching the movie through a Hasselblad viewfinder. The film’s writing, including dialogue that’s fittingly delivered in a bookish prose style, is not nearly its strong suit, but it knows it. It’s a film to see and hear, not to watch or listen to.”

See the exclusive trailer and poster below.