Following

Following ★★★½

When observation becomes involvement, emotions brim from the measured formulation of fixation. There is an arcane switch from Looking to Knowing, where in Looking there is safe distance, while in Knowing there is unsafe touch. These are whisked in a cup of nonlinear psychoanalytic noir, where the protagonist shaves and cuts his appearance down to mimicked conduct and style. In turn, the viewer remains in the dark on the same plane as him, believing at the same time as him, deceived at the same time as him. The voyeuristic temporal shake also prevents the familiar elements of alienation and attachment to hold onto similar narrative threads. Instead, it inflates the psychological thriller bubble into a burst of meta-storytelling; it extends to the process, the twist, the bend. The protagonist, himself a writer who cannot complete a story, narrates the film’s narrative, only to lose the conclusion over veracity. Because knowing alone is not reality; and reality alone is not truth. A break-and-enter into several doors of manipulation, dotted by remarkable cinematic frames of a person framed by the frames of perception. The start of The Nolan Standard.

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