FUR Tells the Wild True-ish Story of the First Bigfoot Abduction and Frank Mosley Is Set to Star
Actor-filmmaker Frank Mosley, known for his work in Upstream Color and The Procedure, is taking on one of the strangest roles of his career. He’s set to star in Fur, a “fantastical romantic horror” based on the bizarre, real-life account of Albert Ostman, the first man in recorded history to claim he was abducted by Bigfoot — and then got tangled in an unsettling relationship.
The film, directed by Brad Abrahams (Love and Saucers), will be showcased at this year’s Frontières Market at Fantasia Film Festival in Canada. Written by Joslyn Jensen (Funny Bunny), Fur will be a blend of surreal horror, intimate drama, and cryptid mythology like we’ve never seen before.
Set in 1924, the film follows Albert Ostman, a lonely logger seeking gold and a fresh start in the Canadian wilderness. But instead of striking it rich, Albert finds himself violently abducted by a Sasquatch and dragged to its cave, where he meets the creature’s mate, and their daughter. What unfolds is a descent into isolation, primal rituals, and what the filmmakers describe as “forbidden intimacy.”
“As the days pass, Albert is pulled into a world of isolation, strange rituals, and forbidden intimacy – an ordeal that ends in bloodshed, and an act of creation,” the official synopsis reveals.
For Mosley, the bizarre premise was impossible to resist. “To play a Canadian logger in the 1920s would be appealing enough, but to compound it with an interspecies romance was to make an offer I couldn’t refuse.”
He added, “When Brad and Matt brought this project to me, I was immediately taken by their avoidance of camp and their interest in nuance, in wanting to give this wild tale a very sincere, grounded sensibility. I couldn’t be more excited to portray Albert and to explore their visceral themes of desire, otherness, and belongingness within a no-holds-barred genre framework.”
Abrahams, who previously explored strange phenomena in Love and Saucers, is no stranger to fringe stories. For Fur, he’s pushing those boundaries even further.
“At its core, the film examines masculinity and sexuality under pressure, and the quiet horror of wanting something truly other,” Abrahams explained. “It explores how isolation distorts perception, and how captivity, dependency, and desire blur together when you have no one left and nowhere else to go.”
Writer Jensen shares that same fascination with unconventional narratives. “I am especially interested in sex-positive narratives that subvert the status quo, so I was extremely excited by the idea of a cryptid horror story that devolves into interspecies domesticity,” Jensen said.
Jensen also revealed what makes Sasquatch lore so compelling. “Early on, I wrote down what kind of proof I would need, on a personal level, to accept the existence of Bigfoot. My answer was, essentially: ‘a body,’” she said.
“Since then, I’ve come to understand the true power of Sasquatch stories is not about proof, but more to do with the willingness to believe in something you may never get to see or experience first hand: a better world. A dead Bigfoot body is so much less important than the chance that a Bigfoot (or several) is living out there right now, minding its own business, pure, natural and free.”
Fur is being produced by Abrahams and Matt Ralston through their new company, Anomalous Pictures, with Mosley also on board as a producer. This marks another ambitious entry for both Abrahams, who’s also known as a co-director and host for the QAA podcast, and Mosley, whose eclectic credits include Quantum Cowboys, Freeland, and The Ghost Who Walks.
With its mix of cryptid mythology, psychological horror, and wild romance, Fur is shaping up to be one of the most interesting genre projects on the horizon. If you’re into strange true stories, Bigfoot lore, or films that push boundaries, keep this one on your radar.
Source: Variety