August Underground’s Penance 2007

August Underground’s Penance continues the series’ unsettling practice of documenting the lives of serial killers through their own camera, focusing on Peter Mountain and Crusty as they record their brutal acts in a raw, high-definition portrait. The film maintains a clinical, observational tone that never shies away from the violence, presenting a linked chain of crimes that unfold with a chilling sense of inevitability.

The narrative begins with a ruthless act against a Nail-Covered Victim who resists capture, setting a grim tempo as Peter and Crusty move through the town and take pleasure in a public fireworks display. Their itinerary then shifts from outward routines to intimate brutality: Peter is shown in his basement, taunting a semi-conscious captive who has nails hammered into his body, a scene that anchors the film’s steady progression from control to horror. The duo then venture outdoors again, with Crusty by his side as they hike together, confront a sleeping vagrant under a bridge Partier with Baseball Cap in tow, and push toward even harsher cruelty when they pull apart a man’s insides in a moment that underscores their procedural method of violence.

A trip to a local party follows, where the duo’s coexistence verges on the performative: Peter experiments with drugs, Crusty flirts with other partygoers, and a live rat is fed to a pet alligator, a sequence that blends decadence with danger and continues to reveal the couple’s reckless disregard for life. Around Christmas, the violence intensifies as they break into a family’s home. Peter Mountain bludgeons the father with a hammer and attempts to rape the mother, only to find his own aggression thwarted by sexual frustration. Crusty Crusty suffocates the mother, and when the young daughter discovers them, she is killed by Crusty as well. The scene settles into a disturbing domestic ritual, with Crusty later relaxing beside the deceased after opening presents, before joining Peter in a private room for rough sexual activity with another man.

Back in the basement, the couple resumes their confinement and torture, dismembering and murdering as their violence escalates. They dismantle a dead deer and, with a friend’s help, feed portions to a lion Bub, a macabre reminder of their appetite for control and display. The pair engage in a series of recreational activities in the aftermath, including creating a crude firing range and racing ATVs, punctuating their criminal lifestyle with bizarre, almost mundane diversions that heighten the sense of dissonance.

As the brutality peaks, Peter beats a man to death with a hammer while Crusty Crusty drinks the spilled blood and assists in dismembering a female body. When Peter wakes from a nap, a strain emerges between the two: an argument fractures their uneasy alliance as Crusty witnesses Peter cut the fetus from a pregnant woman, an act that drives her toward an emotional collapse. In a disturbing turn, Peter rapes Crusty, then descends into hysterics himself. He becomes intoxicated and targets another woman in the cellar, while Crusty remains upstairs, sobbing and recoiling from the horrors she is part of.

Crusty finally responds with anger, spitting on Peter and strangling a captive, and the two drift into a tense, almost ritualized power dynamic. Crusty pleads for forgiveness and desperately mutters that she wants out, a moment that foreshadows the end of their partnership. The film closes with Crusty retreating to the bathroom and taking her life via self-asphyxiation, a bleak culmination to a documentary-like chronicle that has relentlessly catalogued cruelty from start to finish.

Throughout, the camera maintains a clinical distance, presenting each act with a restrained, almost procedural tone that contrasts with the sheer intensity of the violence. The relationship between Peter Mountain and Crusty remains central, a toxic dynamic that sustains the film’s steady, voyeuristic rhythm while pushing the boundaries of what a documentary-style horror can depict. The narrative does not introduce new stylistic deviations; instead, it intensifies the same core motif—an unflinching look at the psychology and behaviors of two killers whose world is defined by control, domination, and a chilling disconnect from ordinary human empathy.

In the end, Penance offers a stark, unfiltered look at a cycle of violence that seems to spring from nothing and escalate without restraint. The film’s willingness to linger on the aftermath—the broken trust, the brutal acts, the moment of Crusty’s final surrender—invites the viewer to confront the darkest corners of human behavior, all framed within a harsh, documentary-like lens that refuses to soften or moralize what it shows. It is a grueling, deliberately unpleasant experience that stays true to its premise: a portrait of two killers and the life they record, with every moment captured through their own disturbing point of view.