A small, hunched New Jersey woman named Frankie with intense eyes and a severe pixie cut is the central protagonist of the low-budget mystery “Gazer,” from first-time feature director Ryan J. Sloan. You’d be forgiven for thinking, given her her drawn, caved-in appearance, hoodie-shrouded and forever preoccupied with self-recorded cassette tapes, that she’d typically be a bit-player oddity in somebody else’s paranoid thriller.
However, this solitary observer suffering from a severe neurological condition – portrayed with haunting intensity by lead actress and co-screenwriter Ariella Mastroianni – plays a significant role in making this peculiar thriller as captivating as it is. The movie becomes particularly engaging when it doesn’t blatantly display its cinematic inspirations and keeps its narrative details clear enough without being confusing. This heartfelt and atmospheric film demonstrates that independent urban noir remains an effective showcase for emerging talent.
The film\’s transformation from DIY to OMG is thrilling: An electrifying technician from New Jersey with a passion for movies, along with his cinema-loving partner Mastroianni, managed to shoot \”Gazer\” during weekend breaks over two years. Surprisingly, they succeeded in getting their work featured in the Directors\’ Fortnight section at last year’s Cannes Film Festival.
Cannes Film Festival
, an unheard-of triumph for so unpedigreed an entry. Perhaps the French gatekeepers had in mind their own storied history of obsessives-turned-filmmakers like François Truffaut and
Jean-Luc Godard
and developed a fondness for the quintessential movieness of it all.
From the gripping opening scene focusing on Mastroianni’s eyes, “Gazer” presents us with the familiar framework of witnessing a crime. As Frankie listens to her instructions urging her to pay attention to every detail around her so as not to lose focus, her task should simply involve operating the gas pump. However, she finds herself fixated on the opposite apartment complex, where she thinks she sees signs of violent activity through a window. Subsequently, a disarrayed woman steps out from beside the structure, locks gazes with Frankie for a moment, before disappearing into the darkness.
Later, during a session at a grief support group, the same woman named Paige (played by Renee Gagner) speaks up. She shares her fears regarding an abusive brother and seeks assistance from Frankie, offering payment in return. Frankie desperately requires this income as she struggles financially after becoming a young widow; she does not have custody of her child and battles unpredictable episodes where large chunks of time vanish inexplicably. Her sleep provides little respite due to eerie dreams filled with bodily horror themes related to how her late spouse died. However, things take a sudden turn when it becomes clear that everything about the enigmatic stranger cannot be trusted, putting Frankie directly into harm\’s way.
To put it differently, greetings to Hitchcock, De Palma, Nolan, Cronenberg, Lynch, and Lodge Kerrigan (\”Keane\”) for added effect. However, this list doesn’t detract from the film’s impact because even though Sloan collaborates closely with cinematographer Matheus Bastos in darkly atmospheric ways, they manage to create their distinct atmosphere of unsettling tension around warehouse districts, motels, and alleyways throughout the cityscape.
Sloan’s intense peekaboo game sets a great example for beginners. However, his extended dream-like sequences, meant to offer glimpses into Frankie’s mind, end up feeling more like stylistic padding. Similarly, Sloan’s ambiguous handling of Frankie’s actual condition—dyschronometria—is less impactful than expected. The concept of losing track of time seems perfect for building tension à la a thriller with a countdown, yet it fails to fully materialize this potential throughout the story.
“Memento”
transformed an amnesiac’s everyday challenge into something irresistibly appealing.
Superior and more authentic than mere character quirks, the deeply crafted and immersive atmosphere surrounding Frankie’s melancholic life lends a refreshingly genuine and visceral sense of urgency to her problem-solving endeavors. Given the flawed protagonist category, Mastroianni effortlessly maintains our interest and evokes empathy for an individual who steers clear from the edge despite being perilously close to it. The film \”Gazer\” hints at a promising horizon for enthusiastic fans of this spirited genre who have actively supported its creation.
This tale initially surfaced in
Los Angeles Times
.