DIRECTED BY: Joseph Sims-Dennett
FEATURING: Lindsay Farris, Stephanie King
PLOT: A man takes a job spying on a beautiful woman, for reasons unstated by his anonymous employer, from an abandoned building across from her apartment; it turns out All Is Not What It Seems.
WHY IT WON’T MAKE THE LIST: It’s obvious that a lot of skill and love went into Observance‘s production, but it’s too slow at the start, and too confusing and emotionally inconclusive at the end, to merit inclusion among the best weird films of all time.
COMMENTS: The title is a clue that there’s more to Observance than a simple voyeuristic thriller—although what exactly the “more” is isn’t clear even by the end. It starts out like Rear Window, with a man spying on a woman’s life in which he is helpless to intervene, but slowly moves into The Shining territory as observer Parker’s sanity comes into question. Nothing of consequence happens on Day 1 of the observation—the target makes lasagna, Parker makes his bed—which should, perhaps, be a warning sign to the viewer. As the film progresses, things get weirder and spookier, but in small increments. The slow burn technique can be effective; I wish this one had started burning faster, though.
The dream sequences, which relate to the sort of generic family tragedy that always haunt the backstories of psychological horror protagonists, are the best parts, invoking symbols like a pricked finger dripping blood, dead rodents, and black bile (all features which recur in Parker’s squalid lodgings). Meanwhile, things get stranger in reality, too: the observer is viciously scalded by his shower, grows sickly, hallucinates… By the time the movie is halfway over, however, you’re still not sure whether it’s going to turn truly weird, or whether the script will pull out a perfectly logical (if supernatural) explanation for these events. Lovers of the weird need fear not; the ending plunges down a rabbit hole, never to resurface.
The technical aspects—cinematography and sound design—are excellent. The opening black-and-white shots of a churning tide pool underneath a craggy outcropping are like something an Australian Ansel Adams might have come up with, setting an appropriately ominous and lonesome mood. The acting is in the competent-to-good range: if anything, the script doesn’t give the actors enough to do to show off their talents. Observance comes close to being a very good movie; as it is, the dream sequences work in isolation as pieces of abstract art, but don’t inform the thin narrative, or make us care overly about the eventual fate of the characters.
WHAT THE CRITICS SAY:
“… the picture draws on everyone from Cronenberg and early Polanski to Shane Carruth in the construction of its existential mystery. While in the end many viewers will find that mystery frustratingly unresolved, many will be moved enough to talk about it…”–John DeFore, Hollywood Reporter (festival screening)