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When we meet Will for the first time, he takes care of the bar one night when there is "more insects than people" at Rosie's, the water point where he lives since that time. 39, he left Tulane many years ago. In addition to the dirty bar from which he draws his pay check, Will has what looks like a good life: he has a beautiful girlfriend, Carrie (Dakota Johnson); a comfortable house filled with paperbacks and dusty records; and a schedule that gives him plenty of time for quiet breakfasts and beers in the afternoon. Yet it is clear that Will is unhappy and adrift. He drinks too much, slamming shots at the bar and taking the bottles out of his fridge with exhausted resignation; he also flirts with one of his regulars, Alicia (Zazie Beetz), which suggests that he is anxious to cheat. This is a clbadic scoundrel.
Then there is the mobile phone. In the long opening scene of the movie, Will chats with Alicia and her boyfriend (Karl Glusman), interrupting a brutal fight that hurts his staunch friend Eric (Brad William Henke) and eventually landing a phone with a harmless couple . stickers on top left by a group of mysterious teenagers. This is where the Anvari script, based on a new called The visible grime by the writer Nathan Ballingrud, it looks like he's setting up a standard Ringas place. After coming home late, Will unlocks the phone and receives some disturbing messages from the phone, as well as a video of a rotting human skull, teeming with badroaches. He shows it to Carrie, but remains relatively calm, saying that the phone must belong to "a nerd who works in special effects".
As you can imagine, Will ends up being disastrously false and his life quickly deteriorated. He will soon discover that teens were involved in hidden tricks, but his one-off investigation, which included a friendly meeting with two police officers who frequented his bar, did not lead the film to a thrill-seeker thrill on social media. . (Will complains about "bading millennia" at one point.) Instead, Anvari keeps his story centered on Will's manipulative and pitiful dynamics, both with Carrie and Alicia; supernatural intrigues and jump alerts are never fully explained. Many of Anvari's visual concepts are indebted to David Cronenberg's understanding of bodily horror: the underarm armpit rash Hammer is in the same place as the badbadin Marilyn Chambers mad, ambient tech paranoia has echoes of Videodrome, and the creepy, crawly bugs are worthy of Lunch naked. Instead of gravity, these elements are treated with quirky humor and sometimes a smirk.
The lack of clear explanations of what is going on here will be the biggest hurdle for many viewers. Perhaps after watching so many films at the festival that thoroughly rehearsed their themes, I was particularly vulnerable to disgusting the logic and consistency of Anvari. The tactile images, especially the interminable cave that Johnson fixes on his computer and the swarming insects that appear randomly, have kept me engaged even when psychology and stories were not everything. As Hammer sweats, screams and screams throughout the last nightmare stretch of the movie, injuries takes a hypnotic quality. Sometimes you just want to see a pretty smile turn around.
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