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The film “Unsane,” directed by Steven Soderbergh, begins with the perspective of a stalker. We learn from the voiceover that the object of his affection changed his perspective on the world completely. And make no mistake about it. In the eyes of this man, this woman is a “object,” a person who does not have her own agency or reality outside of what she can provide for him. David Strine (Joshua Leonard) is the stalker, and the woman he is stalking is Sawyer Valentini (Claire Foy), whom he met while she was caring for David’s father in his final days, as we will learn later. He became obsessed with her as a result of the comfort she provided his father, and, by extension, David, during their difficult times. Instead, she became an object that made him feel good, leading to a truly one-sided relationship between the two of them, as is often the case when stalking occurs. Initially glanced at, “Unsane” appears to be a potboiler, a standard stalker thriller. In spite of this, it works because there is so much going on within that familiar structure, thanks to the smart script by Jonathan Bernstein and James Greer, Soderbergh’s claustrophobic direction, and Claire Foy’s committed lead performance.
Sawyer has been traumatized as a result of her encounter with David, and the experience has had a negative impact on both her professional and personal lives, prompting her to seek treatment. She checks in at a facility, where she tells her story and fills out a few paperwork. Prior to her realizing it, she is being asked to hand over her personal belongings and is being asked to strip to her underwear. She will be required to remain in the hospital for at least 24 hours for observation. Her reaction is predictable: she panics, frantically tries to contact her mother (Amy Irving), and even calls the police. The length of her “sentence” is increased to seven days after she mistakenly strikes an orderly for her stalker and injures him. It is during this time that she meets a threatening patient named Violet (Juno Temple) and a supportive patient named Nate (Jay Pharoah), who informs her that she is essentially a victim of an insurance scam, in which hospitals such as this one admit patients solely for the purpose of collecting money from their insurance providers.
As if all of this wasn’t enough of a nightmare, Sawyer is taken aback when he notices David distributing medication to the hospital patients. For the most part, he claims to have no knowledge of Sawyer’s identity, and her admissions of trauma make it easy for those around her to dismiss her claims that her stalker has infiltrated the hospital where she is being held. In “Unsane,” there’s a fascinating subtext about the importance of listening to women when they tell you something is wrong. After realizing she has to stay, Sawyer calls her first doctor, who doesn’t get off the phone right away to speak with her; an attorney who Sawyer’s mother calls for assistance hangs up without waiting for questions or even saying goodbye; and even Sawyer’s new role, in which she may or may not be seeing David, is that of a controlling male: someone who literally drugs the people under his care so they will behave in the way they want him to. Despite the fact that “Unsane” does not play up the gender dynamics too much, Bernstein, Greer, and Soderbergh have something to say about men who are controlling, unlistening, and needy. It’s worth noting that there’s another commentary on the failure of our healthcare system that connects this work to the film “Logan Lucky,” which unquestionably had a similar theme.
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They say it in a daring new visual style, which is quite effective. The video for “Unsane” was shot entirely on an iPhone and has a bizarre aspect ratio of 1.56:1. When combined with the traditional widescreen aspect ratio, it produces a boxy look that is ideal for a film about someone who is trapped in a confined space of their own making. As he does in almost all of his work, Soderbergh employs a remarkable economy of visual language in this film, which is particularly impressive. It doesn’t feel like there’s a missed opportunity in this situation. When it comes to a few scenes, it appears as though more material would have been beneficial.) Generally speaking, “Unsane” is lean and mean, providing you with exactly what you need to stay with it. The visual style has an immediacy that adds to the intensity, particularly in the early scenes when confusion reigns, as well as in a fantastic sequence that has already been dubbed “The Blue Room Scene.” Traditional acting and production crutches seem to be out of the question, which adds to the pressure on Foy’s already-stressed shoulders. She rises to the occasion with a complex and daring performance that exceeds expectations. She’s a fantastic addition to the team.
Unsane Quiz
While Soderbergh does everything he can to elevate the material, the final act doesn’t carry the same weight as his best work because the script takes a few detours that result in a few too many plot holes and detract from the overall impact of the film as a whole. It’s a little discouraging to see “Unsane” fall victim to some of the more traditional traps in the final scenes, especially after having shown such courage up until that point. The first hour is so compelling and Foy is so strong that the film’s relative failures in the climax can be overlooked. In addition, Soderbergh is clearly still at the top of his game during the film’s second hour.
Also, you will find out which character are you in this Unsane quiz.
After a brief hiatus, director Steven Soderbergh has returned with two films that are diametrically opposed to one another: “Logan Lucky” and “Unsane.” He’s reportedly already submitted a cut of another film, starring Andre Holland, that will be released later this year, and he directed the smartphone series “Mosaic,” which will air on HBO and other platforms. Not only is he back, but he’s also as active as he’s ever been. And the film industry has benefited as a result.
For more personality quizzes check this: Sanju Quiz.
