Without a moment to think, and no time to question, Dr. Adam Lemay is suddenly forced into a conspiracy of unknown proportions and is left with no options but to comply to the will of an ... See full summary »
Without a moment to think, and no time to question, Dr. Adam Lemay is suddenly forced into a conspiracy of unknown proportions and is left with no options but to comply to the will of an unknown enemy or watch his wife die. Adam Lemay's every action is being monitored and controlled by a nameless authority. In his pocket is a video monitor showing his hostage wife. If Adam makes one false move the water filling the glass coffin she is trapped in will engulf her. Thrown into a frenzy of merciless assignments, Adam unwittingly becomes a hunted pawn, in this complex game of surveillance and survival. Pushing himself past the limits of exhaustion, Adam performs back alley surgeries, theft at gun point, impersonation, all the while trying to avoid the vicious biker gangs employed by the enemy and the government's masked men, without knowing who he can trust he is drawn deeper and deeper into the elaborate web of deception and violence... all to save his wife, who is quickly running out of ... Written by
My second movie for Fantasia 2005 and...it got a lot better than I expected. I chose to see "Sigma" because I wanted to encourage local productions, but it ended up being just damn great. So great that I hugged the director after the film.
Even if the plot is kinda deep and researched, this movie is all about the format. Identified by the director Jesse Heffring as a work-in-progress made to push the mini dv format to his extreme limits...well it's the case. With more than 66 hours of footage Heffring and his production buddies cutted it back down to 85 minutes and are pulling out and putting in different parts at the same time, so we've been warned "it might not be the final version after all". It makes me enthusiast to think I might re-watch this movie and see like forty minutes of different footage.
The story of Adam Lemay, trapped into some kind of macabre game of collecting some unknown electrical pieces is constantly followed by security and hidden cameras throughout his journey. What makes the taste of the film is two things. First the intentional camera movements, that keeps you in a state of rush. Like famous theorist André Bazin was saying: When a film about catastrophe or urgency is made, a too good production and directing just ruins everything. The constant agitation and twirling of the camera keeps the spectator in the same state of mind than Adam, rushed and grabbed to the throat.
The other way that Heffring is bull rushing his spectator is with this delicious frame game. The frames are constantly switching sizes. from wide in the relaxed moment to a tiny square in the middle of the screen when Leah is menaced with drowning. The more it's tense, the more the frame is moving from wide to very close and hard to escape. I mean there is no escape point for the eye.
Seriously, I was arguing a lot with teacher about how genre cinema CAN be art cinema too, but Jesse Heffring RIGHT THERE gave me a weapon for this struggle. Thanks Jesse! And the other ones reading this critic...go to see this damn movie!
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