Hungarian auteur Bence Fliegauf made a head-turning debut in 2003 with his microbudget portmanteau drama “Forest,” which strung together a series of intensely performed two-hander vignettes depicting relationships in various forms of crisis. As a collection of miniatures, it promised intriguing things from Fliegauf, once given a larger canvas to work with — a promise largely fulfilled by such variously ambitious, unusual works as his Eva Green-starring sci-fi oddity “Womb,” the shattering massacre study “Just the Wind” and the mournful, reality-blurring mood piece “Lily Lane.”
In returning to the formal and thematic terrain of “Forest” for a standalone spiritual sequel, however, the director has taken an odd step backwards. Intermittently impressive on a granular level, “Forest – I See You Everywhere” is another claustrophobic collage of human dysfunction, jumping between heady themes of grief, abuse and retribution — though it never exceeds the sum of its many parts, lacking its predecessor’s vital shock of the new.
In returning to the formal and thematic terrain of “Forest” for a standalone spiritual sequel, however, the director has taken an odd step backwards. Intermittently impressive on a granular level, “Forest – I See You Everywhere” is another claustrophobic collage of human dysfunction, jumping between heady themes of grief, abuse and retribution — though it never exceeds the sum of its many parts, lacking its predecessor’s vital shock of the new.
- 3/3/2021
- by Guy Lodge
- Variety Film + TV
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