Scream queen MaikaMonroe heads to Bucharest for the excellent Hitchcockian suspense thriller Watcher.
When the Roman poet Juvenal asked, in so many translated words, “Who watches the watchers?” he was talking about infidelity. But the question has taken on multiple usages across the lexicon in the centuries since. Watcher, a sightly and sight-oriented exercise in mounting suspense from director Chloe Okuno, builds a whole movie on top of it. Here, voyeurism is a two-way street, where the watcher becomes the watched and vice versa.
Okuno, making her feature debut after a run of buzzed-about shorts , establishes a sense of surveillance immediately, cutting to the probing eyes of the cab driver on the commute from the airport. The credits roll over a long shot of Julia and Francis christening the couch in their spacious new living room, as the camera pulls back and back, revealing just how clearly the rest of the world can see into their love nest.
It’s nice to see Monroe back in the terror business nearly a decade after she established herself as a bewitching scream queen of modern horror, headlining the twin John Carpenter homages of It Follows and The Guest. She has a dreamy restlessness that feels almost fatalistic, as though her characters were always conjuring danger out of the ether to combat their boredom. It’s the perfect aura for a thriller that’s slow to refute its heroine’s self-doubts.
Does the movie indict its own uncertainty? As the plot inches along, Julia stops casting suspicion upon her suspicions. She knows something is wrong. But the more certain she becomes, the less her concerns are taken seriously by the police, the neighbors, even Francis, whose persistent attempts to quell her fears go from comforting to dismissive right quick.
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