Chloe Okuno's offbeat thriller concerns a young former actress, Julia (Maika Monroe), who moves to Romania when her husband, Francis (Karl Glusman), gets a marketing job there. He speaks the language - and she doesn't. They move into a high rise apartment building which has a similar unit facing theirs. It isn't long before Julia notices a shadowy figure seeming looking straight at her from across the way. At the same time, several murders of similarly attractive young women have occurred in the city, and the couple even stumble upon the crime scene of the latest victim.
For much of its run-time, Okuno's movie (she also adapted Zack Ford's story), is an atmospheric take on the serial killer trope, with more than a dash of REAR WINDOW's voyeurism. The plot doesn't take center stage - until it does (and, it's less effective at that point). It's all about the mood. Julia being a stranger in a strange land adds to her unease - foreigners usually stick out to the locals. Even less than suspicious characters have a tendency to look and stare their way. Julia walks on darkened streets, into decrepit buildings, a strip-joint, deserted murkily illuminated subways - she even keeps her apartment dimly lit as not to attract the attention of her personal peeping tom. Noteable is that the voyeurism angle has multiple viewpoints. Okuno's subtext about nobody, including her husband, truly believing Julia is always present and it is always welcome to see a female POV.
Benjamin Kirk Nielsen's cinematography prowls the depths and Nathan Halpern's minimalist score is subtly effective. The acting is strong with Monroe creating a strong presence in a largely reactive role. Burn Gorman is subtly chilling with minimal dialogue as the voyeur. Glusman does what he can with his banal character. Okuno's direction creates genuine tension and suspense, and there's a very nice 'bus shot' worthy of Val Lewton.
The final act replaces much of the ambiguity with a too on the nose finale. To be clear, the conclusion is in keeping with the main storyline and there are no cheap out of left field twists, but, it still feels to be the least interesting route Okuno could have taken. Better to have left it a psychological drama with some loose threads for the viewer to be left pondering. For many who view the ending negatively, it will completely color how they view the movie; and, that's unfortunate, for there is much to admire and savor here.
For much of its run-time, Okuno's movie (she also adapted Zack Ford's story), is an atmospheric take on the serial killer trope, with more than a dash of REAR WINDOW's voyeurism. The plot doesn't take center stage - until it does (and, it's less effective at that point). It's all about the mood. Julia being a stranger in a strange land adds to her unease - foreigners usually stick out to the locals. Even less than suspicious characters have a tendency to look and stare their way. Julia walks on darkened streets, into decrepit buildings, a strip-joint, deserted murkily illuminated subways - she even keeps her apartment dimly lit as not to attract the attention of her personal peeping tom. Noteable is that the voyeurism angle has multiple viewpoints. Okuno's subtext about nobody, including her husband, truly believing Julia is always present and it is always welcome to see a female POV.
Benjamin Kirk Nielsen's cinematography prowls the depths and Nathan Halpern's minimalist score is subtly effective. The acting is strong with Monroe creating a strong presence in a largely reactive role. Burn Gorman is subtly chilling with minimal dialogue as the voyeur. Glusman does what he can with his banal character. Okuno's direction creates genuine tension and suspense, and there's a very nice 'bus shot' worthy of Val Lewton.
The final act replaces much of the ambiguity with a too on the nose finale. To be clear, the conclusion is in keeping with the main storyline and there are no cheap out of left field twists, but, it still feels to be the least interesting route Okuno could have taken. Better to have left it a psychological drama with some loose threads for the viewer to be left pondering. For many who view the ending negatively, it will completely color how they view the movie; and, that's unfortunate, for there is much to admire and savor here.
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