By Tamar Mirianashvili
We are all followed. We are followed either in reality or in our dreams. How many times have you jumped in your dreams, very frightened and under stress? How many times have you been watched or spied by the persons you know or whom you don’t even know? With their judgmental eyes about your clothes, way you walk, look, work, travel, study or dream? I bet for many times. Sometimes you feel stressed and depressed, but you don’t understand why, you don’t even think that this unconscious stress comes from the people following you all the time and everywhere and we are not interesting, only after we are dead.
It Follows is a psychological horror film, directed by David Robert Mitchell. I felt that the director tried to show the fear living in us, diversity of fears, we are adapted with and feed constantly. Art temperature of the film, very refined and optimistic landscapes, trees with autumn colours, flowers, the sea, wide angle and bright shots pushed my thoughts and expectations towards more psychological depths. To be more precise, after the very first appearance of dead and injured body, with the sea on the background, I thought that like in Force Majeure by the Director Ruben Ostlund, where the avalanche falls onto the family, everything calms down in some minutes and the characters, their relations with each other based to the force majeure situation start to develop and flourish through the entire film.
Thus, following the fear, I expected to see deeper world of the characters, their struggle with themselves, with each other and surroundings in “It Follows”. In a moment, the film pushed me towards sexually transmitted diseases, as if they were transmitting it to each other and blaming their death to some horrific fantasies and imaginations due to the extreme fear of death.
Though, factually, the director continued the film in horror mood, being very weak in the ways of showing it and make the spectators to feel really horrified. Throwing the ball onto the window in complete silence, accelerating quite very nice music, to fill the empty scenery with horror artificially, breaking the window at night, etc. are little bit old-fashioned moves for present times, mostly characteristic for eighties and nineties horror movies.
My eyes were caught by beautiful photographic shots. Almost every scene was set with taste and reason. I vividly remember one still from the film, hand of the girl gently hanging over the flower, enjoyed with beautiful, surreal and wide landscapes of Detroit, all these memorable imagery was born thanks to the collaboration of the contemporary photographer Gregory Crewdson and the cinematographer Mike Gioulakis; though still, it served as one of the reasons to throw me from the rails of art, indie movie.
Overall, as the second, low budget feature film of the director, it shows promising film carrier perspectives, though the screenplay and the structure of the film in general, must be focused on the development of the characters, their relations in deeper and more reasonable way, if the film is designed to be an indie film.