A dark wave of incest and magic burns across the tropics, forging a knotted trail into the black hole. Taking its title from the V.C. Andrews novel (a sequel to Flowers In The Attic), and weaving together texts from Shirley Jackson, William S. Burroughs, and Stevie Nicks, the film constructs a collaged narrative of three star-crossed siblings searching for one another across the unstable landscapes of their respective exiles.
— Michael Robinson
“Robinson's work continues to evolve at a rather shocking pace; this isn't a filmmaker content to replicate his considerable successes, nor is he afraid to tread into some convoluted zones of human psychology. In an act of dense, ambiguous symbology akin to Deren's breadknives and Anger's roman candles, Robinson shows us a woman finding a marbled, peach-colored glass ball in the dirt. She shatters it to find it contains a collection of golden nails. As Thorns continues, Robinson's imagery becomes more explicitly tropical: a male figure walking right to left with long fronds for raft-making or building shelter; a pileup of fronds by a tree; and the swaying of seaweed under the waves. Thorns is a film that is bursting with information, some of it specifically character-driven, some of it evocative of an all-pervasive ambiance.”
— Michael Sicinski, academichack.net, Fall 2009
This title is also available on Michael Robinson Videoworks: Volume 1