"A highly intriguing and visual piece."
John Cairn's new film Effigy evokes an unnerving yet reminiscing feeling of surrealistic and experimental films like the works of David Lynch and Under the Skin.
The film follows a foreign translator Catherine, played by Camille Stahl, as she lives in the isolated city of metropolitan Tokyo. Her life takes a dark turn when she encounters an enigmatic client who demands a translation. From that moment, the line between reality and imagination begins to blur, revealing Catherine's inner depravity.
Effigy is undeniably niche, offering no clear answers as the plot unfolds, leaving the viewer with more questions than resolutions. If Schoolgirl was able to avoid cliches within a genre that could easily lean towards creative limitations, then this highly surrealistic film was able to highly compliment what an experimental horror film can do. It challenges its audience to interpret its meaning, reflecting the director's intent to push the boundaries of contemporary storytelling.
The cinematography is nothing short of stunning, portraying the city as an isolated, ominous presence. It was as if the city itself was coming alive with the dark contrast across the buildings, where the muted colors and ominous lights beamed in the streets. The sound design enhances this sense of lurking horror, hiding just beyond the shadows. It almost felt like I was back in Silent Hill, a franchise that I adore.
The editing is equally striking, particularly during the scenes where Catherine translates. The film cuts between her frustrated work and her drawing, with the visuals coming to life as she narrates, a technique that echoes Cairn's earlier film, Schoolgirl Apocalypse.
For an indie film there were some very strong performances. Camille Stahl gives a very compelling and demanding performance, shifting from innocence to psychosis with subtle yet terrifying precision just by the way she looks and moves alone. Shinsuke Kao as Doggy was great too, having a profound ability by simply disappearing into his character.
Although I didn't fully grasp the film's message after my first viewing-especially as it reached its ambiguous conclusion-that's not the point of a surreal film. It's about the visual and hypnotic experience. And yet, much like watching a David Lynch film or playing Silent Hill, there's a persistent sense that a deeper meaning lies behind the curtain-one with layers of interpretation waiting to be uncovered.
Another reason for a re watch!
The film follows a foreign translator Catherine, played by Camille Stahl, as she lives in the isolated city of metropolitan Tokyo. Her life takes a dark turn when she encounters an enigmatic client who demands a translation. From that moment, the line between reality and imagination begins to blur, revealing Catherine's inner depravity.
Effigy is undeniably niche, offering no clear answers as the plot unfolds, leaving the viewer with more questions than resolutions. If Schoolgirl was able to avoid cliches within a genre that could easily lean towards creative limitations, then this highly surrealistic film was able to highly compliment what an experimental horror film can do. It challenges its audience to interpret its meaning, reflecting the director's intent to push the boundaries of contemporary storytelling.
The cinematography is nothing short of stunning, portraying the city as an isolated, ominous presence. It was as if the city itself was coming alive with the dark contrast across the buildings, where the muted colors and ominous lights beamed in the streets. The sound design enhances this sense of lurking horror, hiding just beyond the shadows. It almost felt like I was back in Silent Hill, a franchise that I adore.
The editing is equally striking, particularly during the scenes where Catherine translates. The film cuts between her frustrated work and her drawing, with the visuals coming to life as she narrates, a technique that echoes Cairn's earlier film, Schoolgirl Apocalypse.
For an indie film there were some very strong performances. Camille Stahl gives a very compelling and demanding performance, shifting from innocence to psychosis with subtle yet terrifying precision just by the way she looks and moves alone. Shinsuke Kao as Doggy was great too, having a profound ability by simply disappearing into his character.
Although I didn't fully grasp the film's message after my first viewing-especially as it reached its ambiguous conclusion-that's not the point of a surreal film. It's about the visual and hypnotic experience. And yet, much like watching a David Lynch film or playing Silent Hill, there's a persistent sense that a deeper meaning lies behind the curtain-one with layers of interpretation waiting to be uncovered.
Another reason for a re watch!
- sayerspruell
- Sep 2, 2024