Take two parts De Palma, one part Zulawski, four parts “Berberian Sound Studio” and dissolve the whole in about a million parts water, and the resultant dilute solution might approximate “The Intruder,” an oddly flavorless supernatural psycho-thriller from sophomore Argentinian director. The claustrophobically close-up tale of a woman’s mental unraveling in the wake of a traumatic incident, the film is an adaptation of regional cult favorite “El mal menor” by C.E.
Inés is a member of a Buenos Aires choir and a voice actor whom we first meet doing her day job providing the breathy gasps, squeals and Spanish-language dubbing for some sort of bondage sex film. Next thing, bad flyer Inés is on a plane en route to her vacation with immediately aggravating new boyfriend Leopoldo . He forces a sleeping pill into her mouth and is rewarded with a scratched cheek when Inés has a vivid nightmare involving his death.
Aside from a few visually striking, spooky nighttime sequences with Inés alone in the recording booth while horror imagery is projected mutely onto the wall, the job of atmosphere-building is largely left up to Guido Berenblum’s sound design, and he, at least, takes several opportunities to go for broke. Luciano Azzigotti’s score weaves in and out of the mix, while the choir subplot lends some unearthly soundtrack cuts.
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