A young woman visits the workplace of an older man, and the encounter reveals dark secrets that neither of them can put behind.
Unsettling theme, uneasy pace, and an uncomfortable watch. It becomes obvious from the very beginning what the premise is but David Harrower’s script (and original play), Benedict Andrews’ camera, and Nick Fenton’s editing use “predatory” techniques instead of just tackling what you already know is going to happen. Psychologically, it is like when anticipating someone to die but not being ready at all when they actually do. If the comparison seems unfair, this is what happened to Una; she died on the inside.
Fenton’s editing keeps this steady pace from beginning to end, offering neither excitement nor boredom, but maintaining a realistic sense of time for the story to unfold and disclose information that the audience is not sure if they want to know (until they know for sure they don’t). Benedict Andrews and director of photography Thimios Bakatakis mount the cameras over the shoulders and follow Una and Ray down a rabbit hole that depresses and divides our feelings. Cinema, by its nature is, intentionally or not, a form of voyeurism, but Andrews’ directing wants to make it obvious that this is the intended purpose. He wants you to be this omniscient voyeur of Una and Ray’s story and make sure you are uncertain about casting the stone you are holding. It is one of them films where you can’t wait to end, it doesn’t, you want to turn it off, but, simultaneously, you cannot not know the end. And as if the plot is not utterly stomach twirling enough, the subplot makes it even worse for Ray who, in the meantime, has been forced to announce to some of his employees that they are fired… while Una is there.
The moment I really wanted to put an end to both of their suffering (and mine) and turn it off, was about an hour and ten minutes into the film, where after Una’s particular line you know that this abhorrent situation is gonna go to hell. I could hear my heart pounding and felt like sweating. And I put a full stop here just in case you decide (after all that) to watch it. What’s important to do at this point is to praise Rooney Mara and Ben Mendelsohn for their performances on an individual level and their tough chemistry on a collective one.
Harrower and Andrews put their audience into a very tough spot by not distinguishing who is the prey and who is the victim when in a case like this it should have been pretty obvious. I do not condemn that, if anything it is remarkable, but it is not a film I can recommend to anyone.