Shapeless

Arresting, methodical body horror with a focus on the internal experience of its protagonist.

It feels necessary to add a warning for both this review and the film to allow those who would prefer to avoid details. Shapeless is a film that confronts the horrors and impact of an eating disorder. Help and resources are available from Beat in the UK for anyone who may be struggling.

Synopsis: Ivy, a struggling singer in New Orleans trapped in the hidden underworld of her eating disorder, must face her addiction – or risk becoming a monster.

Ivy (Kelly Murtagh – also responsible for the story alongside writer Bryce Parsons-Twesten) is a singer struggling to find herself as she deals with the effects of an eating disorder. As the condition chips away at her confidence, talent and relationships, the film becomes more internal, more preoccupied with the inner workings of her mind and how that translates to her body.

This is a film deeply invested in mood and tone, creating spaces that alternate between oppressive reds and sickly greens that surround the protagonist. Director Samantha Aldana blurs Ivy repeatedly, capturing half her face in mirrors which all contributes to Ivy’s distance from her life and also speaks to her fracturing identity. All fit the idea of Ivy’s battle with herself. In the darker tones, we find Ivy’s struggles come to the fore as she regards her body with intense scrutiny before collapsing once more into destructive behaviours. Initially, lighter, daytime scenes are a reprieve but as the film progresses, even these are snatched from her (and the audience), with a scene at a wedding becoming an affecting display of the toll it takes both personally and professionally.

Murtagh’s own experiences as a singer and in dealing with an eating disorder ground everything. She fully embodies Ivy’s delicate mental space, with the way she feels and her perceptions coming to alter how she moves, reluctant to take up space while becoming desperate to be heard. While the film doesn’t shy away from the ugly realities of her situation, this is a film full of empathy for Ivy. The camera is not a casual observer here, but becomes Ivy’s companion, allowing us to watch her study herself. We are never invited to judge Ivy, but to be present in her moments of pain, intruding on the private spaces where her issues are at their most apparent.

This is not a full-scale, gory set pieces body horror, finding a more ambient, character-based horror. Complaints about pacing and lack of concrete action would be understandable but this establishes itself very early on as a character study. Those looking for explosive moments will not find them here. The film initially borrows the smooth soundtrack of Ivy’s surroundings, quietly turning up the discordant sounds to match the distorted visuals. Everything becomes a haunting progression.

Shapeless is a powerful and at times, a difficult-to-watch character study that highlights the ability of horror to discuss the most difficult subjects in a way that foregrounds the individual.

4 out of 5 stars

4 out of 5 stars

Shapeless will be available to Own or Rent from 19th September

The Razing

An exercise in confined filmmaking that yields mixed results.

Synopsis: A group of estranged friends gather for a night of tradition which takes a deadly turn after old secrets and wounds resurface.

The Razing is a curious film in that for the most part it confines its characters to one room while also trying to build a wider world around it. It is often a compelling device for horror, the increasing tension and claustrophobia driving characters to increasingly desperate acts. The Razing leans into this tradition, trapping warring characters in a lavish space, removing them from the escalating concerns of the outside world.

The clever thing that The Razing does is introduce characters who are so clearly in crisis and cannot stand to be around one another from the outset, with the sniping starting almost immediately. These scenarios always lead you to wonder, as a viewer, how any of these people are friends or why they are still in contact, but the film sets out that these are a group mainly connected by a dark past, attending out of obligation rather than genuine desire to be around one another. Remaining within the confines of the room The Razing manages to blend the current day with their pasts, offering context and development. This is achieved by having two separate timelines operating within the space, one of the present and one of the past, in which characters’ younger selves walk seamlessly into the same space, taking the viewer across timelines in mere moments.

Early on, an overwhelming soundtrack holds the viewer at arm’s length, with booming music overpowering dialogue at times. With an already fractured group and tense conversation, this never quite lets you find a connection to the characters. This does, in some ways, add to the overall effect, only allowing you to find out the secrets between them as the group fractures. The setting too, is excellent, with the rich surroundings providing a clashing backdrop for the excesses and conflict taking place. The details of the acts taking place outside of the room are horrific,

Where the film struggles, for me, is using a near-constantly roaming camera. In some sections, like a move around the room to signify a timeline shift, this is an elegant way of moving between threads, as is the use of split-screen early on, visualising their conflict in an intriguing way. However, as the film progresses the camera is scarcely still, constantly exploring the space, even moving when characters are delivering monologues. The overall effect is a kind of queasy feeling normally reserved for found-footage films. A little more stability would go a long way in providing more connection with the characters and an ability to focus on performances, too. To some degree, you can understand the desire to offset the dialogue-heavy scenes and add some dynamic movement, but several sections are in need of moments of stillness to allow the horror to truly sink in.

While The Razing fully understands and portrays the horror of other people, some technical choices are likely to leave some overwhelmed and distant.

3 out of 5 stars

3 out of 5 stars

The Razing is distributed by Gravitas Ventures and will be released on September 27th, 2022 to TVOD and DVD and on SVOD and AVOD 90 days after.