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After witnessing a bizarre, traumatic event involving a patient, a psychiatrist becomes increasingly convinced that she is in danger from an uncanny entity. In the days leading up to the September 30, 2022 premiere, the film’s cast appeared at various baseball games, sitting behind home plate, dead still and smiling, staring into the camera, motionless, even as fans in the audience were understandably concerned, wearing Smile T-shirts. Another soon appeared in the background with the audience during the Today show. At around 31 minutes, Rose shatters a window when her alarm goes off. When the glass is shown at her feet, she is wearing socks. A few seconds later, when she checks the door, she is wearing lace-up shoes. Based on what happens later at the party, there are a few continuity issues that may not be “errors” but may in fact be intentional to show “breaks” in Rose’s consciousness/sanity.
Monstrosity: Because Your Mind Is So Encouraging. The opening and closing logos of Paramount have a curved line in the shape of a smile at the base of the mountain. Appeared in Chris Stuckmann’s film reviews: Smile (2022). Lollipop Written by Beverley Ross & Julius Dixon performed by The Chordettes. Rose Cotter is a therapist in a psychiatric ward. One day, Laura, a young college student, is brought in for observation. After witnessing the brutal suicide of her professor, she appears to be suffering from extreme post-traumatic stress disorder.
As Rose talks to Laura, she becomes increasingly frightened, claiming that an invisible entity is going to kill her. Later, bizarre events convince Rose that the entity is now haunting her; and that she is its next victim. A disturbing horror film, “Smile” by Parker Finn is a terrifying exploration of the lingering effects of trauma. Finn’s narrative asserts that trauma affects every aspect of life and can be transferred to others through one’s actions. While comparisons to David Robert Mitchell’s It Follows are inevitable, Parker’s approach to the film’s thesis feels fresh and innovative. Traumatic effects such as hallucinations, paranoia and guilt are cleverly woven into Finn’s narrative, adding to its psychological horror. The film is suspenseful and maintains an intoxicating atmosphere of dread throughout.
Finn makes excellent use of jump scares, which often seem like a cheap way to shock the audience. They are absent here, as they only serve to deepen Rose’s paranoia. His characterisation is strong, as is his dialogue, and we believe and sympathise with Rose; even if we are not sure we can trust her version of reality. Finn’s culturally relevant and unsettling film provides a wild and devilish ride. A good sound design is essential for a horror film to succeed; Finn’s sound department creates an immersive and unsettling environment of terror. Cristobal Tapia de Veer’s score deepens the uncomfortable atmosphere, becoming chaotically dissonant as Rose descends into paranoia. It is at times reminiscent of Dario Argento and Goblin’s score for Suspiria; Tapia de Veer’s work adds immensely to the film’s impact.
Distinctive and creative, using low angles, handheld shots and zooms, it creates a sense of unpredictable instability. Under Finn’s direction, the lighting creates contrast and mood, and the composition of the images also adds to the film’s horror. He uses symmetry, asymmetry and negative space to create imbalance, tension and emptiness; depending on the needs of the scene.