Chris Jolly’s “Curse of the Seven Jackals,” a distinctly low-budget and lo-fi experimental film rooted in the early 2000s Athens, Georgia indie music scene, has returned to the public eye following a digital restoration by Anthology Film Archives. The film, originally showcased at the 2001 New York Underground Film Festival and its Chicago counterpart, is now screening twice nightly over the course of a week, retaining the enigmatic and confounding qualities that marked its initial release.

The film centers on Bernard, portrayed by musician Kevin Barnes, who seeks to finance a trip to Egypt by participating in trials involving synthetic blood. This blood, linked to mummification rituals in the film’s narrative, leads Bernard to identify himself as an Egyptian cadaver. The story unfolds in a deliberately disjointed manner, favoring mood and atmosphere over conventional plot or rationale.

Bernard’s bleak journey intersects with Helen, a dowdy motel housekeeper played by multimedia artist Jill Carnes. Their relationship offers a subtle emotional core amid the film’s surreal backdrop, highlighted in scenes such as their shared, off-kilter rendition of “America the Beautiful” and a bingo outing at a local V.F.W. post. A significant moment arises at a karaoke bar where a series of fragmented musical performances culminate in three teenage girls performing a rendition of Rick James’s “Super Freak,” underscoring the film’s unconventional approach to narrative and sound.

Shot partially on an antiquated sound-on-film Auricon camera—famously used by Andy Warhol—“Curse of the Seven Jackals” features washed-out black-and-white visuals and a harsh audio track, contributing to its deliberately rough aesthetic. Intertitles are displayed via a television screen, emphasizing its experimental, retro style.

The film’s suburban settings evoke comparisons to early John Waters work, while its detached, minimalist tone loosely recalls Jim Jarmusch’s 1984 film “Stranger Than Paradise,” albeit without the latter’s polish. “Curse of the Seven Jackals” has been cited as a potential influence on Harmony Korine’s 2009 film “Trash Humpers,” though observers note Jolly’s film is markedly more raw in production values.

An original “no jazz” score and the use of technical flaws as intentional stylistic elements align the film with traditions of underground cinema from the 1960s, creating what one might describe as a cinematic ouroboros that fuses retro and avant-garde influences. The film’s ritualistic imagery culminates in scenes such as Bernard, wrapped like a mummy, wandering a field and invoking ancient gods—symbolic moments that underscore the work’s commitment to its peculiar vision.

Despite its obscure, roughhewn nature, “Curse of the Seven Jackals” continues to attract attention for its distinctive place within the underground film landscape, preserving the spirit of its original release while reaching new audiences through its restoration.