Under the Skin (Jonathan Glazer, 2013)

I can say "Under the Skin" is one of the eeriest films I've ever seen. It takes science fiction to a new level, exploring the recurring assumptions and limitations of the (in)human condition. Jonathan Glazer's creation has a dry style, no clichés,  minimal dialogue and stripped-down imagery. It is an observational masterpiece about an alien residing in the body of a woman. Scarlett Johansson brings us a resounding performance, going through many different stages: power, total control, doubt, vulnerability, withdrawal, strangement, fear. 

Her character takes us on a ride through Scotland, getting to know its people through her hunt for human blood. Her capturing occurs subtly, no gore is ever used, and the silence —literal and visual—, makes the ritual more powerful. The main narrative is combined with moments that ressemble a documentary —very avant-garde, no doubt— of the crudity of certain realities within our contemporary society. We see the lowest social stratum of the capitalist world through an outsider's eyes. Ultimately, we might realise that her attitude of utter detatchment is comparable to that of many human beings.

Apart from the breathtaking rituals that the first half of the film revolves around, three scenes really impacted me. The first one happens in a mostly deserted beach, where a family puts their life at risk to save their dog, that has swam to rough waters. Johannson's character remains unmoved as they all eventually disappear, and a baby is left crying in the beach after she has secured herself a new prey. All of this happens so naturally; the sentimentalism that other filmmakers would err on is rejected. 

The second one inevitably reminded me of "The Elephant Man" —one of my favourite films—, as the character introduced here shares the same unfortunate condition as John Merrick, neurofibromatosis. The alien holds a casual conversation with him once she has convinced him to jump into the car, which sinks more and more in the bereaved reality that he inhabits. His vulnerability, and the way it is used by her to attain her goal, gave me chills, because it seemed to me too reminiscent of the workings of certain reality shows that exploit individuals for mere entertainment. It also made me reflect on the fakeness of our society's compassion, that is dismantled by the despotic attitude of most children in the process of growing up and the prevalent negligence towards people like this deformed man. 

The third scene that stayed with me is the ending, that I will refrain from spoiling as it captures the essence of the whole film.

Beyond the brutal yet cunning critique at the heart of the film, there is also an exploration of femininity and its power, founded in a prejudged innocence and women's enticing physical qualities, luring men into their death —quite literally in this case— without them realising. To me, we are exposed with the essential nature of the relationship between men and women, the perpetual danger that we pose for each other. 

The sound design is very powerful. With the rythmic shrieks that accompany the hunteress' procedures, we are invited to look deeper into a world that usually flies past. The music is dark and hypnotic, suggesting a secrecy that we pry into with no regrets. Mica Levi has become one of the most promising artists in the experimental pop scene, and showcases in the film her limitless talent as a composer with a traditional education yet a very personal, cutting-edge perspective. 

I am an advocate for more directors like Glazer, outside of the general schemes and overlooking political correctness for their own advantage. It made me gain even more respect for Johannson, an actress I have always admired, because she chose to be part of a project that could almost  pose a risk for her career. She supported a filmmaker that has been much neglected, and this collaboration proved one of the most fruitful in the last decades. Immerse yourself in "Under the Skin". It will, beyond any doubt, broaden your perspective of the film industry. ⧫⧫⧫⧫/⧫⧫⧫⧫⧫