Shadows on the Wall

Oh, Hi!

dir-scr Sophie Brooks
prd David Brooks, Dan Clifton, Julie Waters, Sophie Brooks, Molly Gordon
with Molly Gordon, Logan Lerman, Geraldine Viswanathan, John Reynolds, David Cross, Polly Draper, Desmin Borges, Diana Irvine, Jimmy Gary Jr, Ruben Ortiz, Tabitha Lawing, Sabina Friedman-Seitz
release US 25.Jul.25
25/US Sony 1h35

SUNDANCE FILM FEST

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Opening as a sparky, engaging comedy about a hot young couple having goofy adventures on an idyllic countryside holiday, writer-director Sophie Brooks pulls us in before dropping hints that things are going to get much darker. The script is cleverly exploring how people perceive conversations through their own filters, leading to serious problems. So while the overall tone is uneven, the dialog remains both witty and thoughtful.

All loved up, Iris (Gordon) and boyfriend Isaac (Lerman) are on an out-of-town break in a gorgeous lakeside farmhouse. Iris loves how Isaac falls for her jokes; he cooks elaborate meals for her. Playing with bondage gear, Isaac confesses that he's not looking for a serious relationship. So Iris refuses to uncuff him until she can prove to him that they make the perfect couple. But of course she only scares him even more. Unsure what to do, she calls her best friend Max (Viswanathan) for help. But she turns up with boyfriend Kenny (Reynolds).

Early signs that things might take a turn include the discovery of the house's stash of sex toys and a neighbour (Cross) who lectures them on public displays of affection. Even as the film drifts into full-on thriller territory, the tone remains off-handed and blackly comical. As this situation twists nastily, the script is also laced with insight, inventively mixing suspense with sensitivity in ways that keep us both off-balance and entertained.

Gordon and Lerman have terrific chemistry, and their performances have an improvised style that makes Iris and Isaac easy to identify with from the start. So when things swerve in into disturbing territory, it's easy for us to feel for both of them. As Iris begins to act unhinged, Gordon has fun balancing her genuine yearning with her deeply terrifying intensity. And Lerman shifts from relaxed charm to barely contained panic. Viswanathan and Reynolds are in more deliberately comical roles, but play them with earthy authenticity.

While the film uses the balance of power in ways that are both comical and rather freaky, this is a reminder of the importance of clear communication within a relationship. It's an enjoyably deranged depiction of the desperation many people feel to find a soulmate. And it also has something to say about the fear of commitment. In the final act, the plot takes unexpected turns that remarkably never feel glib, leading to some raw honesty. Maybe all of us are a little crazy.

themes, language, violence, sexuality 27.Jul.25

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