Nemo (Willem Dafoe) is a trained art thief, and he’s the best in the business. However, when there’s a malfunction in the home that he’s currently stealing from, he finds himself locked Inside…all alone. There’s no way out, and he must now rely on his instincts and his tenacity if he plans to survive. With limited resources at his disposal, his days are numbered–but he may just find a way.
The sound present in Inside is aggressive and antagonistic–forcing itself on viewers from the opening seconds of the film. There’s no chance to prepare for what’s to come, and the harrowing sounds that transcend the entirety of the film are challenging to deal with. This seems like it should cripple the film, like due to the fact that it’s so aggressive throughout the course of Inside that it frustrates viewers, but it’s quite the opposite that happens. The daunting sounds that often exist throughout the film help to transport viewers inside the film, feeling like they are part of Nemo’s journey. Due to the fact that the sound is so loud and booming, it almost cuts viewers off from those around them, making them feel isolated, suffering alone–almost helpless. Being able to simulate this feeling using sound is impressive, and even with Dafoe with the reins in hand, this is the most entertaining aspect of Inside.
The world knows that Dafoe is one of the best actors of the past thirty years–but being called the greatest is something that has often eluded him–denying him the recognition that he deserves. Inside may just be his best performance to date, and I don’t think that people can deny him credit any longer. Dafoe is left alone, to his own devices, and he’s tasked with carrying the film from the opening moments. Sure, we get another character every once in a while, but the majority of the time Dafoe finds himself alone–and his talent is all he has to ensure that viewers appreciate all that occurs throughout Inside. He never misses a beat, exuding emotion at every turn, strengthening every moment of the film, bringing it to life, and enticing viewers every step of the way.
What I believe to be one of the most challenging things in cinema is attempting to manipulate a camera and get a good shot when teams are confined to a small space. Inside exists in one New York City penthouse, and while that’s considerably larger than your typical apartment, it’s still relatively cramped. Director of Photography Steve Annis takes charge here, creating a spectacle out of something that could have been simple and unappealing. Stuck in a confined space, it would have been easy to keep things simple, remaining on the straight and narrow rather than creating something unique and far-reaching. Annis refuses to yield to the dreary potential of the film, and he chooses to be bigger and better than viewers could have anticipated. His ability to capture Dafoe’s brilliant performance and the ever-changing interior landscape of Nemo’s new Hell is simply impeccable. He assists in bringing this film to life, in creating emotion, and driving the film charismatically toward success.
I don’t think anyone missed the fact that this is a modern-day Cast Away set inside rather than on a desert island. The concept is similar in the fact that one man is forced to endure the hardships and impossibilities of isolation–but Inside takes that concept far beyond what many likely anticipated could come to life. The first hour and twenty-five minutes (of a total of an hour and forty) are stellar, making it impossible to peel your eyes from the screen–but there seems to be some complaints about the closing seconds of the film. I’m not completely against what’s being said: the payoff isn’t all that I had hoped for. The journey is important, the meat and bones of the overall production, but I think viewers want a slightly more ambiguous ending. Some things are left up in the air at the conclusion of Inside, but it feels that Writer Ben Hopkins and Director Vasilis Katsoupis are looking to point viewers in a specific direction. I understand the concerns that I’ve heard–but just a little bit of ambiguity (with some guidance) is something that I appreciate.
I found Inside to be well-rounded. It captures emotion in a number of ways, pulls viewers into the narrative, and creates something that, while similar to things we’ve seen before, exists in its own place in cinema. Dafoe dazzles (and if he doesn’t receive an Oscar nomination next year I’ll riot), the sound intrigues, and the camera work of Annis is some of the best that I’ve ever seen. Inside is a brilliant psychological thriller that intensifies as it drives forward–and up to this point, it’s the best film of 2023.
Directed by Vasilis Katsoupis.
Written by Ben Hopkins.
Starring Willem Dafoe, Gene Bervoets, Eliza Stuyck, Andrew Blumenthal, Vincent Eaton, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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