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For long stretches of Subject 101, our protagonist — identified in the end credits only as “101” (Cem Ali Gültekin) — has no idea what’s going on. He finds himself in ghastly scenes of violence and carnage, sometimes with himself holding the gun. He seems to wake up from them, only to discover he’s in some other cruel unreality. A scar on his shoulder comes and goes. A tattoo on his arm changes shape. He’s lost any sense of time, of self, of control.
And for much of that time, we’re as clueless as he is. What’s happened to him isn’t entirely a mystery; writer-director Tom Bewilogua plants clues about a Manchurian Candidate-esque mind control scenario before we have so much as a chance to ask. But we’re as uncertain as he is about what’s real and what’s not,
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For long stretches of Subject 101, our protagonist — identified in the end credits only as “101” (Cem Ali Gültekin) — has no idea what’s going on. He finds himself in ghastly scenes of violence and carnage, sometimes with himself holding the gun. He seems to wake up from them, only to discover he’s in some other cruel unreality. A scar on his shoulder comes and goes. A tattoo on his arm changes shape. He’s lost any sense of time, of self, of control.
And for much of that time, we’re as clueless as he is. What’s happened to him isn’t entirely a mystery; writer-director Tom Bewilogua plants clues about a Manchurian Candidate-esque mind control scenario before we have so much as a chance to ask. But we’re as uncertain as he is about what’s real and what’s not,
