With his dramatised documentary Strangers to the World, the Australian filmmaker celebrates the stories of Franz Jaegerstaetter and Etty Hillesum, two strangers who sacrificed everything for a greater cause.
Taking its cue from the likes of I Know What you Did Last Summer and Heathers, What Goes Around manages to blend a teen drama and a checklist of slasher tropes into a bloody smoothie that goes down exceedingly well.
Erin (Catherine Morvell) is a socially awkward film student living with anxiety; the kind which makes you lock yourself in a club toilet and cry until there’s not a drop of water left in your body. While her BFF Rachel (Gabrielle Pearson) stands fast with her troubled friend, the other members of Erin’s social circle share varying degrees of impatience with her. Friends such as the political pillock Cameron (Charles Jazz Terrier) and the mouth on legs Marnie (Ace Whitman) seem like the very people you should stay away from, but seemingly wanting to appear ‘normal’, Erin hangs with them regularly.
Entering from stage left is Alex (Jesse Bouma), Erin’s class crush and very quickly her lover. Despite finding what appears to be a snuff film on his laptop, Erin lets herself get lost in Alex’s doe eyes. And that’s when the bodies start piling up. Someone is picking off Erin’s ‘friends’ and uploading their violent deaths online.
Like any good slasher, you’ll need to not question the fact that the police are rarely, if ever, seen investigating these public mutilations. Nor does Erin appear to have any kind of structured support despite clearly battling some kind of trauma. Writer/Director Sam Hamilton leaves them to fend for themselves before they’re vivisected in front of a go-pro camera during one of the film’s more tense moments.
In fact, at times, Erin doesn’t seem too fussed that her chums are being turned into chum.
Hamilton – making his strong feature-length debut – uses Erin’s apathy to their termination to throw the viewer off his scent. Sure, Alex acts a bit odd, but our hero also fantasises about slicing the face off the eternally cheerful Cara (Aly Zhang) while she’s at work. So, its anyone’s guess as to who is doing what. In fact, had What Goes Around been longer it would have been interesting to see the film play out this conceit a little bit more.
Acting like a swift, deep knife to the guts, What Goes Around is a nice throwback to the slashers of the ‘90s where kids rule and adults drool. While it can’t completely hide its rough edges, it does enough to be an entertaining 80 minutes that knows precisely what kind of film it is.
There are few things worse than a parent losing their child. One of them would be letting a deceptive hope creep in that maybe, just maybe, the child isn’t lost after all.
Dealing with a tragic situation is already too much for a lot of people to take, as the psychological strain of death that can truly mess with the mind. But throw in the possibility that all that pain and heartache might have been misplaced and… well, you get films like this.
A remake of the 2008 French film Mark Of An Angel, with the only major change being the framing of the narrative climax and who is directly involved, it plays out as a character study of Noomi Rapace’s Lizzie, a divorced mother who has been left traumatised by the death of her daughter, and who starts obsessing over a child in the neighbourhood that she believes is her.
Thrillers of this nature benefit from plot ambiguity, keeping the audience in stasis while the two potential outcomes whirl around the story: Is this actually her daughter, or has she lost her mind from the grief?
In the hands of writers Luke Davies, who has experience with displaced families through his work on Lion, and David Regal, best known for his work in late-‘90s Nickelodeon cartoons, that ambiguity feels somewhat misplaced.
Lizzie herself isn’t given the most sympathetic of frames, even with her emotional baggage. This isn’t helped by Rapace’s performance, which is a little too dead-eyed to give the audience a chance to consider her actually being right.
But as the story plays out, its position both as a stand-alone film and as a remake starts to become clearer. Director Kim Farrant (Strangerland), even when the scripting lets her down, shows staggering empathy for the position Lizzie is in, along with that of Yvonne Strahovski as the child’s mother.
On one hand, having an adult basically stalking your child will never not be cause for alarm. But on the other, it’s a nightmare-come-to-life scenario to be so wracked with sorrow for the loss of one’s own flesh and blood that some hope, any hope, is worth clinging to. And this is all without getting into Australia’s dark heart, with children being separated from their families, a history which is still irritatingly debated to this day.
This is definitely rough around the edges, and the weakest of Luke Davies’ most recent efforts (also Beautiful Boy) dealing with familial strains, but overall, it just manages to work.
The performances may not be as strong as they needed to be, but the film’s sense of mood and unending sense of dread fill in the blanks, and the intent at its core regarding maternal instincts feels like it’s tapping into something real. More than a little unsettling, but real.