An agoraphobic voice stream interpreter detects a heinous crime and gradually realises that she is next.
Mild suspense and good acting get you through it. Behold… the legacy of Alfred Hitchcock and Rear Window (1954), adapted for the young adults of today, and the exhausting times of our pandemic. Writer David Koepp and director Steven Soderbergh create a world similar to ours with COVID, masks, lockdown references, texting as a means of communication, and, of course, Siri and Alexa that have entered our lives, and, if I’m allowed, infiltrated our homes. In Kimi, this might be the subplot, but it is what still scares me the most – so glad I don’t have either.
Back to the plot, the crime itself is an audio recording, visualised by Angela in her mind. Is it how she pictured it? Is it something else? Maybe worse? The suspense builds up through relatively slow editing that allows the viewer to take in the frames’ information (mise en scène) and “enter” Angela’s world. Soderbergh’s close-ups, tracking shots, low angles, and Dutch shots, effectively manipulate the space Angela is in with a voyeuristic and omnipotent lens that provides information on both the prey and the predator, but carefully and discloses it. Too carefully I will add and that information could have easily manipulated the plot as well, creating a twist – but, no. On the other hand, Zoë Kravitz is the real deal. She’s incredibly convincing as the agoraphobic tech-girl who loses her marbles upon realising what the stakes are. She carries the film on her shoulders.
In the end, for me, the believability was lost for reasons you’ll probably discover should you decide to watch it. I found it quite disjointed. But, don’t let that discourage you. It’s enjoyable even though you won’t be thinking much about it past the end credits. Minor details that I found interesting include, but are not limited to: 1. The way Angela visualises the murder in her mind. Watch it and think about the way you compose images in your head. What shape are they in? Are they continuous? How clear are they? 2. In a drugged state, in the mini van, the way that through her eyes, the audience and Angela alike, perceive both her and her surroundings, while listening to the thugs chatting. These are details a meticulous director pays attention to and proves once more that Soderbergh takes control of both his on-screen but also off-screen narrative – everything happening inside and outside the frame.