![]() The film doesn’t start you immediately in the action. We watch her painstakingly try to figure out her situation but, it doesn’t take long for her to figure out the significance of the countdown and how she came to be trapped in these tubes. On her arm is strapped a bracelet with a countdown. Upon awakening, Lisa wakes up in a tube dressed in a wetsuit. Things escalate and then we cut to black. However, at the last moment, she relents before accepting a car ride from an unknown man ( Peter Franzén). In MEANDER, we meet Lisa (Gaia Weiss) laying in the middle of the road, seemingly hoping to have someone run over her. The film stars Gaia Weiss (“ La Révolution“) and Peter Franzén ( Heart of a Lion). MEANDER is directed and written by Mathieu Turi. We are kept on our toes and feel the tension she does as she must survive and the film itself doesn’t miss a beat to make sure our hearts are racing with hers until it reaches its conclusion. In Mathieu Turi’s MEANDER, we are taken through Lisa’s journey as she awakens to find herself trapped in a series of tubes. However, we can’t meander or else we will be filled with regret over what we’ve lost. A thing that we sometimes wander aimlessly through, whether it’s due to not knowing what we want, losing something that kept us grounded, or trying to reconnect with why we should continue to be here. There are no consequences to his actions, "even after admitting this." The movie ends as Bateman says: "there is no catharsis.Courtesy of Gravitas VenturesLife is a precious thing. By the end, the question of whether Bateman's murders really happened is irrelevant-no one would have noticed either way. Either he's done nothing, or his crimes have been of so little interest to his peers that they haven't caused a single ripple. His apartment full of corpses has been cleaned up. (The ATM that says FEED ME A STRAY CAT and the shootout with police that follows, for example.) An air of "did that really happen?" hangs over the entire story, until the only thing that's truly clear is that Bateman is utterly insane.įollowing a night of murder, a police manhunt, and a confession to his lawyer, Bateman attends a social occasion to find that nothing's changed. His body count is called into question as the story progresses and Bateman frequently experiences things that aren't real. As he told Vulture, "It allows people to make up their own mind of what it means."Įveryone around Bateman is as horrible as he is, save for the murderous tendencies-and Bateman may not even be a real murderer. As for the ambiguity of that last shot? Totally intentional. As he's said in multiple interviews, he was originally inspired by a nightmare in which he knew he was being followed, knew he couldn't get away, and knew the people with him in the nightmare weren't able to help him. Mitchell has only hinted at his personal point of view on the scene depicting the spirit's possible "death," but he's made it clear that he never set out to make a movie with a literal meaning, or one whose antagonist's motives were ever explained. Like plenty of thought-provoking cinema, much of It Follows is open to interpretation. In the film's final shot, the duo walk down a street while someone (or some thing?) follows behind. After the climactic conflict, Jay and her friend Paul (Keir Gilchrist) have sex.and later, Paul's seen driving past a group of prostitutes. One thing leads to another, and ultimately, she and her friends try killing it, with generally unpleasant (not to mention ambiguous) results. Jay's told the only way she can escape the evil spirit (which haunts her in some truly terrifying ways) is by sleeping with someone else to pass it on. But Mitchell uses it as the setup for a pretty devilish little film. If that sounds ridiculous, well, it kinda is on its face.
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