‘Stranger Eyes’ Review: Yeo Siew Hua’s Elegant, Haunted Thriller About Voyeurism In a Time of Surveillance

As someone who has spent countless hours poring over films from different corners of the world, I can confidently say that Yeo Siew Hua’s “Stranger Eyes” is a masterful piece of cinematic storytelling. The film’s intricate narrative and thought-provoking themes resonated deeply with me, particularly given my own experiences living in densely populated urban areas where privacy seems like a luxury of the past.

Initially, the plot appears to be borrowed directly from Michael Haneke’s “Caché”: A pair is disturbed when they receive an anonymous DVD in their mailbox, containing secret recordings of them going about their daily lives. However, just like how Haneke’s film evolved beyond a conventional horror movie into complex sociopolitical themes, the enigmatic and evolving psychodrama “Stranger Eyes” also delves into topics beyond simple questions of privacy and surveillance. As one mystery is swiftly resolved, the narrative delves into deeper, more probing queries about human nature and relationships, gradually unveiling a hidden emotional fragility beneath its polished, cold exterior

In 2018, Yeo’s film “A Land Imagined,” which combined fluorescent neo-noir elements and won the top prize at Locarno, marked his arrival on the auteur scene. This movie, coming after his more experimental debut in 2009, “In the House of Straw,” demonstrated a fondness for narratives with genre undertones, intricate time jumps, and a social message. With an atmospheric and non-linear style, “Stranger Eyes” continues this trend, although it focuses more on character development and emotional depth rather than complex narrative acrobatics. If “A Land Imagined” managed to secure a multi-territory deal with Netflix, Yeo’s new movie should also receive significant international attention following its premiere at the Venice competition

In the bustling urban landscape of Singapore, where privacy can be hard to come by due to its high population density, provides an intriguing backdrop for a tale about public scrutiny and private lives exposed. The film’s main characters, Junyang (Wu Chien-ho) and Peiying (Anicca Panna), reside in a towering apartment building characterized by endless grids, reminiscent of the setting in “Rear Window” that encourages extensive peer-watching on an industrial scale. Despite their home being their sanctuary, they are rarely alone, cohabiting with Junyang’s mother Shuping (Vera Chen) and their infant daughter Bo, creating a cramped living situation, though one not uncommon in this densely populated society. This tight-knit arrangement has put strain on the relationship between Junyang and Peiying

Before anything unusual happens, Bo mysteriously disappears without a trace, which quickly leads to a crisis. This is followed by the arrival of a suspicious DVD, with similar ones appearing later. These videos show ordinary activities as well as personal, private moments. The stalking of the couple and the apparent kidnapping of their child appear to be linked, but the investigating officer Zheng (Jeff Teo) provides little useful information. As if surveillance wasn’t already everywhere in the city, they install a CCTV camera outside their door

Without giving away too much, the spy-against-spy tactic eventually brings them to Wu, a middle-aged man with melancholic eyes who resides in an apartment across from theirs and lives with his elderly mother. The eerie recordings, though not exactly a misleading clue, are just the initial move in a peculiar, evasive game of tentative human interaction. This dance causes both Junyang and Peiying to cautiously view each other as strangers. Meanwhile, their ongoing hunt for their daughter exposes their underlying insecurities as partners and parents

Initially, you might feel like you’ve grasped the film’s rhythm, but then it unexpectedly twists time again, skillfully executed by editor Jean-Christophe Bouzy, who is known for his more flamboyant collaborations with Julia Ducournau. This temporal manipulation leaves us momentarily confused about the flow of time and its direction. As the narrative unfolds more fully, revealing aspects of family life, an outsider’s intrusive perspective reveals that Junyang and Peiying have barely ever truly seen each other up close

In the movie “Stranger Eyes,” it’s clear from the start that Wu, portrayed by the esteemed Taiwanese actor Lee, isn’t just a typical character. This is especially true since this role seems to be one of his most impactful outside his long-term partnership with Tsai Ming-liang. The depth of Lee’s somber and mournful acting adds an underlying emotional layer to the movie, which already boasts a sharp narrative structure, stylish cinematography, and contemporary fear of technology. As the story shifts its focus onto Wu and his lonely, oppressive isolation, as well as the various distant, one-sided relationships he develops to combat feelings of loneliness, Lee’s presence gives the film a rich emotional wellspring

As a movie enthusiast, I’d rephrase it like this: “In ‘Stranger Eyes’, the director masterfully explores a broader theme – the gradual disappearance of personal privacy due to endless screens and lenses, which seems to be tearing our society apart. Zheng subtly warns the couple, suggesting that if you watch someone closely enough, they might eventually become someone you wouldn’t want them to be, even if they weren’t criminal to begin with. Despite its intense, suspenseful narrative, this film also offers a poignant, slightly melancholic portrait of characters and an ode to a bygone era when community was strong and trust was abundant.”

2024-09-05 23:17

‘Stranger Eyes’ Review: Yeo Siew Hua’s Elegant, Haunted Thriller About Voyeurism In a Time of Surveillance

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