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The explosion of conspiracy theories that has been fueled by the Always-On era has resulted in a new type of urban paranoia that is distinct from the previous one. Something dark and horrifying is lurking behind every apartment door, according to a growing number of people, particularly those who are involved in true crime. Consider all of the residences in a New York City apartment building, and then consider all of the horror stories that unfold on a daily basis just on true crime podcasts. Most likely, there’s a problem somewhere down the hall. Alternatively, you could live in the apartment you’re currently renting. Dasha Nekrasova’s “The Scary of Sixty-First,” a horror/thriller that is clearly inspired by urban paranoia thrillers such as Roman Polanski’s “Repulsion,” but with a contemporary twist, is fueled by a creeping sense of dread. However, the filmmaking falls short of Nekrasova’s concept, particularly in the final act, which is cluttered and at times incompetent, leaving viewers to wonder what it all means, or if it means anything at all in the first place.
In the beginning of the episode, Addie (Betsey Brown) and Noelle (Madeline Quinn) are doing something that all city dwellers know is truly horrifying: apartment hunting. From the beginning, they have that slightly uncomfortable dynamic of being friends with the possibility of not being so for a long period of time. Even though you may not be thrilled about the prospect of seeing your friend every day, you may find yourself agreeing to share a room with a friend in your twenties because it is preferable to being forced to live with a complete stranger that you do not know. They are, however, mostly cordial, despite the fact that Addie appears to be taken aback by the bizarre layout of the new apartment on the Upper East Side, which includes strange locks on certain doors. It’s a great deal. They have no choice but to accept it.
“The Girl” is an unnamed stranger who knocks on their door and is credited only as “The Girl.” Addie has an oaf of a boyfriend (Mark H. Rapaport) to keep her distracted from her roommate, but everything changes for both women when an unnamed stranger knocks on their door and is credited only as “The Girl” (played by Nekrasova herself). The Girl informs Noelle that she believes they are currently residing in a location that has witnessed unspeakable horrors: one of the apartments where Jeffrey Epstein used to traffic and abuse young female victims. That may explain the low rent, but it may not explain the creepy tarot card they discovered when they first moved in.
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You won’t believe what happens next: Noelle and The Girl have fallen down the rabbit hole and found themselves in a Wonderland of conspiracy theories about Epstein and his apartment complex. They volley increasingly passionate conspiracy theories back and forth — yes, the term “Pizzagate” is used — and eventually arrive at the conclusion that Epstein’s apartments are five blocks apart because there are five points on a Pentagram, which they believe is true. Duh. As they begin to go insane with their theories about what happened in the apartment, they fail to notice that Addie is also going insane, albeit in a more literal sense. She appears to be almost possessed by one of the children who were trafficked by Epstein, and she has even scared her boyfriend with some extreme behavior during sex with him.
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It is Nekrasova’s ability to capture the connections that can be made through conspiracy theories that is the most impressive aspect of “The Scary of Sixty-First.” After becoming more involved with them, Noelle and The Girl form a bond that develops into a romance, and Nekrasova (co-host of the “Red Scare” podcast) is well-versed in how personal dynamics can develop as a result of intense common belief. Many of the ideas in “The Scary of Sixty-First” seem like they could become a part of the horror genre’s fabric in the coming decade, and I kept trying to picture those ideas in a film with tighter craft and performances.
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Because, while I applaud the effort put forth here, the execution is a different story. While Hunter Zimny’s 16mm cinematography occasionally evokes the paranoia thrillers of the 1970s, which clearly served as inspiration for this film, it also feels a little slapped together, evoking more of the Mumblecore/indie drama style. This is clearly a descendant of directors such as Polanski and De Palma (with a dash of Argento thrown in for good measure), but the framing here feels more amateurish, particularly in the final act, when Nekrasova relies too heavily on shaky camerawork to convey terror.
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At the end of the film, I was left with the impression that “The Scary of Sixty-First” was a setup with no follow-through. Although the film contains scenes that are bloody and bizarre in ways that will undoubtedly turn off some viewers, it does not appear to have anything to say about our culture of conspiracy theories. Perhaps that is the point: that this type of QAnon spiraling out of control over things we have no control over will only lead to misery and frustration. After watching “The Scary of Sixty-First,” we might consider it to be the beginning of a new breed of genre filmmaking that is apathetic to the Twitterverse and cognizant of the fact that making a horror film is more difficult in an age where real villains like Jeffrey Epstein exist. For the time being, it comes across as a cold shrug rather than the fervent warning it could have turned out to be.
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Select theaters are now showing the film.
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