Gazer

Showing as part of Cannes’ Directors’ Fortnight, Gazer is a gritty low-budget thriller from director Ryan J Sloan. Entirely self-financed and shot on grainy 16mm film, the plot centres around Frankie (co-writer and producer Ariella Mastroianni), a young mother who suffers from dyschronometria, a degenerative condition that affects how she perceives time. All she wants is to save money to support her young daughter, so when she’s offered a risky job with a large payout from a mysterious woman (Ashley Phillips), she accepts. But when the stranger disappears soon after, Frankie finds herself delving down a dark and twisting rabbit hole as she searches for answers.

There are elements of Taxi Driver and Lost Highway strewn throughout this Hitchcockian thriller. Although moments of poor sound quality are noticeable reminders of this film’s shoestring budget, the scratches on the film and an atmospheric score, punctuated with moody brass chords, give this movie a grungy aesthetic that perfectly matches the genre. Moments of surreal horror likewise add to the overarching tone and mystery. These effective sequences channel the dream logic of David Lynch to make for some bizarre and unsettling imagery and are where Gazer is at its most creative and visually interesting. It’s somewhat frustrating, then, that more isn’t done with this aspect of the feature, especially during the final act where events begin to lose momentum.

For the most part, the plot is expertly paced. After introducing viewers to the protagonist, who’s played brilliantly by Mastroianni, the script gradually guides audiences deeper into the ensuing mystery, with a myriad of twists taking events in intriguing new directions. By presenting the narrative solely through the protagonist’s own disjointed perception of time, Sloan deepens the mystery with a unique unreliable narrator who remains sympathetic to audiences.

Unfortunately, this film is let down by a prolonged and messy final act. When the pieces finally start to come together, a series of convoluted final revelations make for an underwhelming and rushed outcome, which culminates in an ending that feels undercooked.

Gazer is a pulpy and atmospheric thriller that takes inspiration from genre classics. Despite its noticeable low budget, it’s incredibly well-made and boasts plenty of creativity.

Andrew Murray

Gazer does not have a UK release date yet.

Read more reviews from our Cannes Film Festival 2024 coverage here.

For further information about the event visit the Cannes Film Festival website here.