There’s a defining moment in Guadagnino’s Adriatic opus that has more power to it than anything else seen on network television in a very long time. It’s far from a big event or even an unforseen tragedy, but rather, a moment of deafening silence that not only crystallises the premise, but comments on the state of our world right now, and that moment is this:
Sarah Wilson is on the couch watching a live-stream of Trump’s victory unfold on television…
An atmospheric first half that understands the essence of character development as an integral part of executing true filmic terror when the time comes, followed by an almost incomprehensible second half that brings that very nightmare to life through malevolent forces of nature and even more horrifying - the emptiness of the unknown.
It’s basically just a neon-coloured 90’s mixtape with lots of gore and angry teenagers…and that’s perfectly fine with me.
