Miller, a southern drifter, lives in seclusion in an abandoned 100-year-old slaughterhouse - his only company is visions of Gale, his dead lover who was murdered a decade ago. When Gale’s daughter Ruth arrives, looking to dig up the past, she and Miller reassemble the shards of his shattered memory and are horrified at what they uncover.

THE HARROW is the debut feature film for Writer/Director Kevin Stocklin. His prior work includes four short films: The Position (Best Short Film, Big Apple Film Festival 2010), Eve, Case Closed, and Tom and Jeraldine. In addition, he wrote, produced and co-directed the documentary We All Fall Down, distributed by Icarus Films and winner of the CINE Golden Eagle, the Chris Award and Four Telly Awards. His works have screened at festivals, museums and exhibitions worldwide.

Director’s Statement

The Harrow is a psychological thriller set in the Southern Gothic/Noir tradition. Its protagonist, Miller Lee, spends his days in self-imposed solitude in an empty century-old North Carolina slaughterhouse. He is haunted, or kept company, by visions of Gale, a woman he loved a decade ago who was brutally murdered.

Into this world comes Ruth, a young girl with a desperate need to know the truth about her mother’s life and death. This need drives her to push her way through the dark passages of Miller’s psyche. And Miller, in turn, feels empathy and kinship for Ruth, as the daughter of the woman he loved – though, much as he wants to help her, he cannot give her what she desires most. Over three nights together in the slaughterhouse, Miller and Ruth engage in a quid pro quo, each trading elements of their own grim past, lifting layers and untangling the web.

We shot this film over three weeks during the harvest season in North Carolina. I wanted to set this story in the South, which has always seemed to me America’s greatest wealth of history, tradition and stories. The characters in this story are all tightly bound to their past, struggling to break free from their deeds and circumstances. Their tragedy is that, even though their hearts can change with time and revelation, they remain forever bound to the deeds of their youth.

— Kevin Stocklin, Writer/Director