There’s a specific type of discomfort that comes out of
watching a film like this. It’s the discomfort in knowing when someone is
actually telling the truth but everyone else insists that they’re not. The
feeling that makes you want to put your hands through the screen into the
film’s reality and just start yelling that this person is right, that things
are happening to them, or at the very least give assurance that they’re aren’t
as crazy as everyone wants that person to believe.
Of course, that ends up denying the outright talent he has
at putting films together, and this is no exception. Shot entirely using
iPhones, with the natural letterboxing to go with it, the film has a very
Inland Empire look to it, a sense of proximity to reality that makes what
happens in the frame, even the stuff that may not even be happening, feel that
much worse. The creeping shots of Claire Foy’s Sawyer and her confinement in a
mental institution against her will, the buzzing soundtrack that only grows
more distorted as Sawyer’s perception itself becomes distorted; they give this
film an definite uneasy quality that makes the pure psycho-thrills stab the
audience right where it hurts.
As far as the writing this all in service to, courtesy of
Jonathan Bernstein and James Greer, there’s a lot to unpack in this
seemingly-simple film. The mental health industry, the nature of insanity
itself, the unnerving understanding of how innocently abusers treat their own
actions; there are some intriguing veins being tapped to bring this story
together.
But bar none, the big thing at the heart of all of this is
something that society at large is growing more and more aware of: How victims
of abuse are treated. In situations where abuse victims step forward, they
proceed to be scrutinised within an inch of their lives. Did they remember the
event correctly, did the event even happen at all, is there anything about the
victim that could make them lose credibility at recounting the event, etc. When
someone in a psychologically vulnerable position like that is asked to relive a
particularly traumatising moment, only for it to be off-handedly disregarded
and for their story to go unheard, it can feel like you’re going insane. This
person clearly did something wrong, why can’t anybody else see that? Why are
you examining every detail of the story except for what they did to me? Why
don’t you help me?!
Gaslighting is a seriously ugly thing, quite possibly one of
the most heinous pieces of social psychology we have access to. And yet, we
seem to have an unsettlingly good relationship with it, right down to having
the occasional feature film highlighting the practice as a good thing. It’s maddening, and in the case of this film, it only
heightens the intensely unpleasant feelings pouring out of the frame. It’s a
psycho-thriller that goes so far into directly touching the psyche that it
cracks open the emotional stockade as well, resulting in a very smart, very
finessed, very hard-to-watch-for-all-the-right-reasons flick.
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