but is distinguished by the coiling, utter tightness of its conceit; you feel trapped in the movie., by contrast, proves unexpectedly broad. Still, both premises are catalyzed by simple enough experiments—before immediately plummeting toward dire, surprising consequences.
There’s a reason this movie comes to mind, at least for me, in a time of social isolation and pervasive, shared crisis. You’d think it’s the parasite. But that’s not it. One of the most compelling things about this film, in fact, is how close this act of violation and control comes to resembling a trauma like sexual assault.
Think about it. Your mind gets hijacked; your finances are depleted. You wake up one day, lured by sounds rumbling through the earth, to find yourself drawn to a pig farm on the outskirts of nowhere. A stranger manually extracts a worm from your body. And then what? Normal life? No; unfortunately not. But the fates of Jeff and Kris become twined in ways that develop slowly, spookily.
The magic of Carruth is that what appears to be a form of narrowing has the emotional impact, for the viewer, of doing the opposite. I keep watching these characters fall further down into the rabbit hole not because of that parasite, but because of Kris and Jeff’s terminal depression, their emotional disarray in the time that follows.
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