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Munroe plays a woman Julia who comes to Bucharest because her husband Francis (Karl Glusman) has a new job taking him home to Romania. She feels like a spare part. With little to do but wander the streets and lounge around the flat, she stares out of its wide picture windows. Opposite is a grey rain stained apartment block, where she notices a figure always standing seemingly looking at her. Her husband treats her fear of being watched, as if this were an entirely female neurosis best not given much credence. But there is a serial killer out there, who is decapitating their victims. So is it not unreasonable for her to be fearful?
There is not a huge amount of dialogue in this film. You are frequently shown only Munroe's face and it's growing unease and distress. This imagery is surrounded by a soundtrack acoustic that amplifies any trace of ambient sound around her, with a consequent heightening effect of something ill defined and sinister broaching. The most static of camera shots will be panning in or zooming out, ever so slowly. Building tension into apparently the most innocent of scenes. The director, Chloe Okuno, skilfully composes these taught frightening senario out of such very simple elements. Sparseness in this movie is it's most effectively utilised quality.
Munroe's ability to dial down her acting, as was most evident in Longlegs, means when she does break into a fury, when her husband admits he can no longer indulge in believing her, it is all the more alarming. Burn Gorman as the killer, finally gets to play a full on twisted murderer, rather than the nerdy or neurotic genius scientist.
The Watcher is a masterclass in how to subtly create unease and suspense. It also beautifully exploits that classic wavering uncertainty of - is she mad, deluded or really being persued by a mass murderer? Compelling stuff. I highly recommend this. It's a cut above some of the so called 'smart' horror movies around.
CARROT REVIEW - 7/8
Available to stream on Netflix
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