‘Glory and Gore’ Review: A Student Film Where ‘Saltburn’ Meets ‘The Secret History’

The independent film, created by Emerson University students Gianna Cavarozzi and Lyanna Zammas, finally arrived on YouTube on Dec. 6 after months of TikTok virality. Within 24 hours, “Glory and Gore” racked up 14,000 views on YouTube and began to spawn TikTok fan edits from eager viewers.

While this kind of response may seem unusual for a student production, “Glory and Gore” isn’t your average student film. In contrast to the many films that portray female characters through the eyes of male writers, directors, producers, and crew members, “Glory and Gore” flips the script and puts the camera in the hands of a predominantly female creative team as they tell the story of an exclusive, all-male academic club called The Symposium.

The film’s creator says “Glory & Gore is an examination of wealth, class, cult mentality, corruption, and masculinity through a feminine lens.”

“Glory and Gore” can be aptly described as a cross between Donna Tartt’s novel “The Secret History” and the 2023 hit film “Saltburn.” The film follows the infamous ex-president of The Symposium, Brooks Vaughn (Mateo Bailey), as he returns to infiltrate the club, undermine the new president, Cassius Sinclair (Javier Garcia), and reclaim power for himself. For many at Harvard, the themes of privilege, class, and exclusivity that accompany the world of elite academics will feel salient, albeit imbued with melodrama.

The film’s final plot twist probes fundamental questions about what motivates power and vengeance — ultimately, the piece will leave viewers on the edge of their seats and hungry for more. Although this ultimate twist is surprising and adds a layer of nuance to the film, greater foreshadowing would have made it more satisfying and believable.

“Glory and Gore” is a visual masterpiece, a tribute to the rich cinematography, effective editing, and genius production team. Dramatic framing expertly heightens tension, and the interplay between warm and dark lighting masterfully conveys emotion and tone. For a student film, the level of technical skill that “Glory and Gore” demonstrates is impressive and rare.

The film cleverly takes advantage of New England’s centuries-old university buildings to create an authentic and immersive “dark academia” environment; the costume choices further compound this cohesive world-building and aesthetic. The film’s score, composed by Rio Dolmetsch, is well-suited to the film’s content and turns riveting, dramatic, and emotive as the plot demands. Jennie Greco also skillfully executes the film’s special effects makeup: true to its title, “Glory and Gore” doesn’t shy away from blood, bruises, or burns — all of which are portrayed with wince-inducing realism.

The overall script is strong, although there are moments when the delivery of certain lines feels stilted and excessively theatrical. This was most frequently the case for Bailey, a character who is given the difficult task of making Brooks’s increasingly melodramatic pronunciations feel natural and believable. The script also fails to carry the weight of the film’s ambition in early exposition. This faltering is most noticeable in the scene when Cassius encounters Will Astor (Andrew Bova) — one member of the Symposium — as he is practicing fencing maneuvers. The dialogue in this scene feels awkward and contrived, disrupting the flow of the film.

The best performance of “Glory and Gore” may come from David Staats, the actor who plays Symposium member Elliot Wright. Grappling with addiction, plagued by guilt, and unable to escape the cycles of violence perpetuated by the Symposium, Elliot represents the ghosts that haunt the club. Staats brings nuance and sincerity to one of the most emotionally complex characters in the film, conveying Elliot’s anger, regret, and complacency with equal aptitude.

Even upon a second watch, the coherence of the film’s plot and the motivations that drive its characters can be challenging to follow. “Glory and Gore” is at its best during dramatic moments and high-intensity montages — such as scenes when Cassius is initiated as president, Cassius battles Brooks in a chess match, and Symposium members talk with increasingly strained interactions. However, the logic falters when individual character choices are scrutinized. At times, members of the Symposium make decisions that seem distinctly out of character and will leave audiences scratching their heads. Even given the confines of the short film form, there were opportunities for more robust character development to bolster the narrative logic. Moreover, much of the Symposium’s backstory remains murky, despite frequent ominous allusions to a hedonistic past.

Despite these shortcomings, “Glory and Gore” is an impressive feat of student filmmaking, especially given the team's limited budget and resources. Visually lush, infused with tension and intrigue, and carried by an adept cast, the film has established writers and directors Cavarozzi and Zammas as promising young filmmakers. With the success of this release, they’ve both proved themselves capable of translating anticipation into action and spinning gore into glory.

—Staff writer Makenna J. Walko can be reached at makenna.walko@thecrimson.com.