Hidden Cameras Reveal More Than Secrets

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MOVIE REVIEW
The Code
–

Genre: Drama
Year Released: 2024
Runtime: 1h 38m
Director(s): Eugene Kotlyarenko
Writer(s): Eugene Kotlyarenko
Cast: Dasha Nekrasova, Ivy Wolk, Vishwam Velandy, Peter Vack, Richard Edson, Nick Corirossi, Ruby McCollister, Casey Frey
Where To Watch: shown at the 2024 Fantasia Film Festival

RAVING REVIEW: Eugene Kotlyarenko's THE CODE ventures boldly into the narrative of a no-man’s land where digital surveillance meets romantic dysfunction, set against the somber backdrop of the COVID-19 pandemic. This concoction of drama, romance, and unexpected humor delves into the lives of Celine (Dasha Nekrasova) and Jay (Peter Vack), a couple grappling with the fading sparks of their relationship.

As the world buckles under the pandemic's weight, Celine, a filmmaker by trade, decides to capture the unraveling threads of her relationship with Jay through her documentary lens. This decision casts a shadow of doubt over Jay, who retaliates by planting hidden cameras around their desert retreat. The resulting footage captures more than either bargained for, intertwining their crisis with the invasive eye of the camera. This spiral of distrust unfolds with a dark comedic edge, enriched by an ensemble of quirky characters who accentuate the film’s eccentric narrative style.

The entrance of another newly and impulsively wed couple catalyzes Jay and Celine, prompting a raw examination of their collected footage to salvage their crumbling bond. This intense scrutiny forces them to confront who truly holds the narrative power in their relationship, blending personal turmoil with broader societal themes.

Kotlyarenko's directorial approach integrates reality TV elements and social media nuances into the film’s fabric. This stylistic choice enhances the narrative and serves as a critique of modern voyeurism, reflecting themes explored in Tanizaki’s literature about the deceptive nature of appearances. The film’s rich narrative structure recalls Kotlyarenko’s critique of social media in SPREE, showcasing his growth as a filmmaker.

The performances are another highlight, with Nekrasova and Vack delivering poignant portrayals of the central couple. Their on-screen relationship, fraught with suspicion and the shadows of surveillance, is beautifully offset by the surreal additions of Ivy Wolk and Vish Velandy, adding a layer of absurd charm to the unfolding drama.

One stylistic choice that stands out for its intent and intrusion is using vertical cellphone footage. Intended to add a layer of realism, the technique instead often pulls the viewer out of the cinematic experience, clashing with the narrative's visual flow. This frequent reliance on a trendy filming technique highlights a discord between the filmmaker’s vision and the viewer’s experience, suggesting a need for a more measured approach to its use in future projects.

THE CODE is a sophisticated mix of humor, drama, and social commentary. It intertwines the complexities of personal relationships with the pervasive reach of technology. It offers a profound reflection on the authenticity of our lived experiences and the illusions of control we entertain in a world mediated by screens.

In rating THE CODE at 2.5 stars, it's crucial to clarify that this score doesn't denote the film as "bad." Instead, it represents a midpoint on my scale—a film that neither dazzled nor disappointed profoundly. This lukewarm response stems mainly from its over-reliance on surveillance and cellphone footage, which, while aiming to inject a sense of realism and immediacy into the narrative, often detracted from the cinematic experience. The film navigates through genuine intrigue and innovation but is periodically overshadowed by these stylistic choices, disrupting the narrative flow and viewer immersion.

Thus, while THE CODE brings a fresh lens to its genre, blending narrative elements in innovative ways, it remains a film that might charm as much as it alienates, landing squarely in the spectrum of my cinematic experiences.

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[photo courtesy of SPACEMAKER PRODUCTIONS, VISIT FILMS]

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