And by then, it’s hard to find horror or pleasure in its repetition. However elegant and feral the film appears on the surface, it’s constantly betrayed by Ozon’s cultural reductivism. Arguably, this kind of story is always fetishistic. But although his wealthy friends seem to confirm his high standing initially, each new swim brings with it a growing sense of unease: first, that Ned isn’t what he seems, although he believes he is, and second, that he’s happy in his illusion in the first place.
A Native American drifter (Booboo Stewart) who befriends them and briefly recounts his traumatizing experience at a culture-crushing boarding school offers a wistful glimpse at the kind of character-driven storyline that the film deserts halfway down the road. We’re seemingly caught up alongside the protagonists in a temporal loop, a la Harold Raimis’s Groundhog Day and its many imitators. Marcantonio effectively creates an imposing environment with the brooding presence of the ravens and other pieces of moody mise-en-scène, but there’s a creakiness to the story that often makes it more aggravating than horrifying or unnerving. Throughout, Joyce Chopra patiently and shrewdly observes the contradictions of human behavior that Laura Dern brilliantly conveys. This scenario, paralleling how we take on the pain of our dying relatives, is metaphorically quite resonant, and James movingly exploited a similar premise in Relic, as Bertino did in The Monster.
Cast: Marin Ireland, Michael Abbott Jr., Xander Berkeley, Lynn Andrews, Julie Oliver-Touchstone, Tom Nowicki, Ella Ballentine, Mel Cowan, Mindy Raymond, Chris Doubek, Michael Zagst Director: Bryan Bertino Screenwriter: Bryan Bertino Distributor: RLJE Films Running Time: 95 min Rating: NR Year: 2020. The utilization of slasher-film motifs in the service of exploring grief also doesn’t make much sense. As they respectively evolve as craftspeople, Flanagan and Bertino have developed opposing limitations as artists. This admission chillingly crystallizes the thin line, within the male gaze, between adoration and contempt.
As viewers, we’re welcome to consider the persistent motif of walls collapsing, subterfuges dissolving, and rugs being pulled out from still more rugs.
Because Sarah is British, she’s a prig. Chopra’s direction, comparatively matter-of-fact and tranquil up to this point, suddenly embraces the visual language of horror during this stretch of the film, employing angled shots and alternately placid and arrhythmic editing to emphasize the distance between the teenage Connie and the thirtysomething Arnold and how quickly it can be closed. Oliver communicates with others using a smartphone app that offers him words and phrases, rather than letters, to choose from. A disproportionately tall, spindly, and perpetually moist gray something or other, Larry is a gene splice of the Babadook and the monsters from A Quiet Place. Before Ben’s tragic demise, his mother, Margaret (Fiona Shaw), a descendent of aristocrats desperately clinging to the family’s heritage, already resented Charlotte: After some troubling events in Charlotte’s life that the film gradually elucidates, the couple had planned to move to Australia for a new start, taking Ben’s precious family seed with them. But once you get past the faux-provocation of the film’s title, it’s difficult to tell what ideologies the filmmakers are trying to skewer. The Swimmer is nevertheless assured in its gradually disturbing tone, which is remarkable considering the drama going on off-camera.
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