The influence of the Greek “weird wave,” and to a lesser extent the moral mazes of Austria’s Michael Haneke, have been seeping into U.S. indie cinema for quite a while now, and Riley Stearns’ third…
sets the tone, albeit a little clumsily. A regular Joe in sneakers, jeans and a grey hoodie stands on a football pitch where a foldaway table presents him with a variety of options: an axe, shears, a combat knife, a crossbow and a mallet. A TV camera tracks him while he chooses, but his opponent shoots first, drawing gasps and light applause from the audience, signaling the start of a vicious fight to the death.
When we first meet Sarah , she is about to have these questions thrust upon her. Faced with her impending death, due to a mysterious but virulent disease, she can either arrange her funeral or invest in a double to learn her habits, tastes, thoughts and mannerisms, then take over her life from whenever she leaves off.
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