DaMU wrote: ↑
Thu Feb 27, 2020 2:34 am
Exactly. The flick is all about framing, both narrative framing (making it Moss's story/perspective) and camera framing (there are a lot of times where the film lingers in empty spaces, inviting us to ask if the villain is there). So many women exist in those Uni movies as sidecar characters, and it is what it is, sign of the times, etc. but it's so cool how the film sticks us in Moss's perspective and almost never leaves it.
It certainly intrigued me. I mean, the review I read (from the AVClub) basically positioned it as a domestic abuse horror that centers the victim as the main character instead of the "monster".
And it was almost doubly interesting to me because I feel like stories involving invisible characters often center on either "mild" sexual harassment/voyeurism (if it's a comedy) to abuse/rape (if it's a horror film) and sometimes with the unfortunate undertone that . . . it's kind of cool, or at least the more mild stuff would be okay if the person didn't go crazy with their power. Like, sure, you can watch some woman getting undressed, but don't take it too far, pal!
I also just feel like it's such a great framing to put a victim of violence (male or female) as the protagonist, because if you've been hurt by someone and they're still out there, then some part of you is always scanning for signs of them, and maybe even convinced that they might be watching you in some way. I have a student whose family is currently in hiding from his father, and I just keep thinking, man, wouldn't you constantly be "seeing" him? Like in every man who walks past your house on the street, or in the sound of every car engine? In a place like a grocery store wouldn't you constantly be hearing his voice, or thinking you caught a glimpse of him?
Plus I then realized that it was the same writer/director who did Upgrade
, so I would trust him with both violence and emotional nuance. This is shockingly at the top of my "want to see in the theater" list right now.