The film opens on a quiet note of a calm voice-over weaved with a blank background. This, in no, way prepares you for the events that are about to unfold, deliberately taking you in a direction opposite to what may have been assumed so far. When a woman introduces you to a man, the first instance is to let yourself be deceived into this being a love story. On the contrary, it would be a story of violence, hurt, and most importantly, of a panic attack.
The moment the viewer finds themselves located at the heart of Lisa's desperate attempts to bring herself back from a panic attack using sense grounding, most skilfully employed within the body of the narrative, little do they realise that they have already been sucked into the story beyond the point of return. The narrative then follows a non-linear, back and forth movement to conjure the past events that led to this intensely emotional moment for the protagonist.
As the drama is built gradually, tactfully withholding and revealing information in turns, it is evident that we are headed towards an inevitable disaster. It is indeed in the realization of this lack of control in stopping the forward motion towards a potential catastrophe that the true success of the film lies. It further makes a pertinent, emphatic comment about violence and abuse in intimate equations and relationships, eventually leaving you with a conclusion which, though disturbing, is tinged with poetic justice, and for the morbid viewer, perhaps even with a strange sense of satisfaction.
Read LessThe moment the viewer finds themselves located at the heart of Lisa's desperate attempts to bring herself back from a panic attack using sense grounding, most skilfully employed within the body of the narrative, little do they realise that they have already been sucked into the story beyond the point of return. The narrative then follows a non-linear, back and forth movement to conjure the past events that led to this intensely emotional moment for the protagonist.
As the drama is built gradually, tactfully withholding and revealing information in turns, it is evident that we are headed towards an inevitable disaster. It is indeed in the realization of this lack of control in stopping the forward motion towards a potential catastrophe that the true success of the film lies. It further makes a pertinent, emphatic comment about violence and abuse in intimate equations and relationships, eventually leaving you with a conclusion which, though disturbing, is tinged with poetic justice, and for the morbid viewer, perhaps even with a strange sense of satisfaction.
HAVE YOU MADE A FILM?
