Stars: Maika Monroe, Keir Gilchrist, Olivia Luccardi, Lili Sepe, Bailey Spry, Jake Weary.
Director: David Robert Mitchell
Screenplay: David Robert Mitchell
Great, another irrational fear; people walking slowly. How can a film make something so simple become so fundamentally creepy...My hat's off to you sir Mitchell and I apologise for taking so long to watch your quite engrossing film.
Set I guess in modern times—hard to tell with all the old and new technology in the film—It Follows borrows its style from the 80s. Usually this is used as an excuse to be able to use neon or synth music to add aesthetic, however this film uses it to cast the characters back to a more simple time. A time where your instinct is not to use social media to tell everyone what is happening to you and where you must rely on really the people around you to 1, believe you and 2, help you save yourself from the slow walking demon who only you can see after it was passed to you through an STD...
It Follows could easily be seen as a fear mongering tactic to show just how dangerous having sex can be. Sure, you can read it like that but the general mood and feeling of the piece doesn't seem to approach the topic like that. Instead rather than Jay's (played by Maika Monroe) friends slut-shaming her for having sex with her almost boyfriend Hugh (Jake Weary), they rather just focus on the crisis at hand. It is refreshing to see that Jay is never seen as promiscuous and neither are the people around her that do end up having sex with her seen as dumb boys being lead astray by a femme fatal.
Mitchell has developed a style where you are focussing on two parts of the screen; the foreground where the character are interacting, and the background where at any moment a person can appear and make its way slowly toward Jay. He has created a film that enables you to split your focus without missing anything important which must have been a pretty hard task to achieve.
This is a good film, it works on the small scale it has created. It has brought back the feeling of the size of the suburb or town you grew up in; it can be your whole world until it becomes too small that you feel the need to escape—the need for escape is just a tad more relatable in Mitchell's slow walking world.