First-time feature director-writer-editor David Raboy certainly knows how to conjure up an atmosphere. Expanding his own short of the same title, Raboy’s elliptical psychological thriller “The Giant” gives us the story of a small Southern town beset by a killing spree, yet his real interest is in the constant changes in barometric pressure: the heaviness of the sticky, buggy Georgia air; the gathering storm that builds and builds just over the horizon for the entirety of the film. But he lays the atmosphere on so think that it threatens to suffocate everything within, and the film holds its audience at such a remove that eventually you stop trying to connect.
Containing little in the way of linear plot, “The Giant” is always willing to leave its viewers in the dark, often quite literally: much of the film (shot on 35 mm by Eric Yue) takes place in grainy darkness, and...
Containing little in the way of linear plot, “The Giant” is always willing to leave its viewers in the dark, often quite literally: much of the film (shot on 35 mm by Eric Yue) takes place in grainy darkness, and...
- 9/8/2019
- by Andrew Barker
- Variety Film + TV
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