Cam (2018)
Directed by Daniel Goldhaber
A young camgirl discovers that she’s inexplicably been replaced on her site with an exact replica of herself.
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What critics compared Cam to
(It's a little like Nastassja Kinski in Paris, Texas, except untouchable behind a computer screen rather than behind glass.)
Mientras Cam (2018) resultó una maravillosa e inquietante crítica a la prostitución en línea, Unfriended (2014) es todo lo que esperas de una película palomera que no innova absolutamente nada y que se cuelga, únicamente, de la pretendida novedad del formato.
The great Thomas Boileau and Pierre Narcejac, whose stories provided the basis for Diabolique and Vertigo collaborated on the screenplay with Franju, building a measure of suspense as outside forces conspire to stop the doctor in his tracks, but it's Franju's atmosphere that keeps the film interesting.
The Eyes of My Mother is roughly analogous to Franjus wonderful Eyes without a Face, in the sense that both affect a non-exploitive art house approach that makes horror stand out in contrast like a bloody carcass tossed onto an intricate silk tablecloth.
The Eyes of My Mother is roughly analogous to Franjus wonderful Eyes without a Face, in the sense that both affect a non-exploitive art house approach that makes horror stand out in contrast like a bloody carcass tossed onto an intricate silk tablecloth.
The idea for "Eyes" was worked on by several writers, including first assistant director and future director Claude Sautet as well as by Thomas Boileau & Pierre Narcejac (whose novels became Clouzot's "Diabolique" and Hitchcock's "Vertigo").
Franju recruited the nefarious duo Pierre Boileau and Thomas Narcejac (responsible for Diabolique and Vertigo among others) to adapt Jean Redon's novel, and the scenario smells of their usual queasy blend of police procedural and obsessional guilt; the cops here fumble around and send a decoy almost to her doom — they don't know they're in Boileau/Narcejac territory and therefore irrelevant.
This is especially glaring in light of the fact that it’s been less than two years since the release of Daniel Goldhaber’s Cam , a much more harrowing, nuanced and daring indictment of internet fame.
It’s this year’s Unfriended: Dark Web by way of Lost Highway (1997) and Enemy (2013), with a hefty dose of gig economy anxiety.