“A daringly twisty, commendably unpredictable erotic thriller with much more to it than meets the eye.”
If and when you watch In Darkness, you will think a lot of thoughts. Many of them might go something like “What just happened?” or “What am I watching?” or “Is this all the same movie?” but suffice it to say that this daringly twisty, commendably unpredictable erotic thriller has much, much more to it than meets the eye. That is not always a good thing, as the film spends most of its runtime running off the rails of its supposed ‘plot,’ but I would be lying if I said it wasn’t an entertaining trip.
The film was written by real-life partners Anthony Byrne and Natalie Dormer; Byrne directs, Dormer stars. If you are fan of Ms. Dormer’s, possibly from her star turns in Game of Thrones or the Hunger Games franchise, then you will enjoy this film. It is a star-vehicle through and through, with nearly every shot focusing on some part of Dormer, whether her striking face or nimble physicality. Notably, Dormer proves her mettle as a very capable lead actress, and this film makes a solid case for more female-led stories written by the actresses themselves; Dormer’s character, Sofia, is a well-rounded and trustworthy focal point of the story, flitting through classy and dangerous scenarios with grace and thrilling movement.
If only the story was as well-rounded and trustworthy. Heavens, what a license Dormer and Byrne’s story takes with the audience’s suspension of disbelief! After a striking, standout title sequence (which sets the stage excellently for a slick, exciting thriller to come), we are introduced to Sofia, a blind musician who glides around London with remarkable street smarts and style. The first 20-25 minutes continue like this, with a rich aesthetic palette and a fun, knife-edge sense of building danger. Her upstairs neighbor Veronique (Emily Ratajkowski) is clearly wrapped up in some nasty business, and when she turns up dead on the pavement outside their building, the plot thickens with Hitchcockian craftiness. Who killed her and why are the setup for the rest of the film’s twists and turns, but without spoiling anything, let me forewarn you that Veronique quickly becomes old news in favor of a much scummier, more complicated spider’s web of crime and revenge.
For the first leg of In Darkness, the film makes a truly riveting imitation of classic Hitchcock and Wait Until Dark-esque blind-character craftwork — especially in a tense, nail-biting scene where assassin Marc (Ed Skrein) intends to kill Sofia for what she has seen, but notices her blindness and decides to follow her around her apartment in silence. Scenes like these are so fun and well crafted that the later dramatic shifts in tone and focus are more unfortunate than thrilling — there is a notable shift from Hitchcock to Jason Bourne all of a sudden that undoes a great deal of the film’s accomplishments with head-scratching intensity.
Ultimately, that is the central problem of In Darkness — it has so many fetching elements to it, from the compelling star to the vintage first chapter to the stupendous use of music (again, only up until the tone change), yet it keeps undoing all that commendable work with silly plot twists. Twists, plural, mind you — each of which edge the film closer to completely undoing itself. As a fan of twists myself, I commend Dormer and Byrne’s ballsiness in their final few reveals, but I came out of the theatre feeling played for a fool, rather than hoodwinked by a clever storyteller.
In Darkness is amusing genre excitement, and has potential as a twist-film highlight among those who enjoy just being confused, but it will mostly remind you how much better a straight-shooting classic crime thriller treats its own plot. Credit belongs to Natalie Dormer, however, for rooting it all in a fascinating lead — I can honestly say I would watch whatever she writes and stars in next.
Reviewer: Nathaniel Brimmer-Beller (Seen 28 June)
Go to In Darkness at the EIFF