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Kim Voynar

By Kim Voynar Voynar@moviecitynews.com

Sundance Review: Compliance

Craig Zobel, who was last at Sundance in 2007 with Great World of Sound, a sharply directed and acted film about a record producing company scam, is back at Sundance this year with a film about a different sort of scam, Compliance, an equally sharp examination of what happens when Sandra, a fast food restaurant manager, receives a phone call from a police officer informing her that one of her young employees, Becky, has been accused of stealing from a customer’s purse and must be detained.

It’s a stressful day for Sandra, one that started with the discovery of a freezer left open and over a thousand dollars of food lost, and the looming possibility of a “secret shopper” quality control visitor, and perhaps that strain contributes to all that unfolds over the next 80 or so minutes of utterly riveting screen time as Sandra complies with the increasingly bizarre requests made by the the caller. And what happens in the course of this story would be unbelievable – if it wasn’t all based on a true case of a McDonald’s manager and employee in Kentucky.

Zobel builds on solid, sympathetic performances by Dreama Walker as Becky and Ann Dowd as Sandra as he weaves this decidedly unsettling tale that’s really about how easily a person can be drawn into complicit obedience to a perceived authority figure, and in doing so commit acts that degrade another human being, even as their conscience and gut instinct should be screaming at them to stop. A friend commented over lunch after today’s screening that this is what the Nazis understood, the way that average people will blindly go along with authority, how they’ll harm others while making the excuse that they themselves were only following orders. It’s easy enough while watching this intensely uncomfortable film to judge these people and think that no one could possibly be so gullible; then we learn at the end that there were over 70 real cases, it makes you just shake your head in despair at the things we humans are capable of.

Compliance has generated a fair degree of controversy here at Sundance, but personally I found it more fascinating than deliberately antagonistic. The story is engrossing on its own merits, in part because you can’t believe what you’re seeing, but also because Zobel does a superb job of building dramatic tension as things escalate from bad to worse. Some terrific editing and cinematography choices effectively guide the tone and tension, as Zobel takes us back and forth between Becky’s plight in the office and the normal, bustling routine of customers coming and going, food bought and consumed, and Becky’s fellow employees going about the routine of their jobs, all the while mostly unaware of what’s happening to their friend and coworker. Zobel also uses a great many insert shots to break the tension at just the right moments, giving us a much-needed break from the dramatic tension and isolation of the office.

It would have been easy to go over the top as things progress in the story, but Zobel is restrained when he needs to be, creating just enough edginess to make the audience increasingly uncomfortable, without crossing the line into our own voyeurism of the unfolding events as exploitation. It’s a fine line, but he manages to walk it. Compliance is by no means an easy film to watch, but it is very, very good.

2 Responses to “Sundance Review: Compliance”

  1. Paul D/Stella says:

    Anyone who has a hard time believing how far things go, watch this: http://www.youtube.com/watch?v=CgCSps6KgdY.

  2. Jannie Grey says:

    I would say it takes heart and real conviction to sit through the entire movie as things keep on getting worse and worse. Really hard hitting movie. Most controversial of the year i think.

    Jannie

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Julian Schnabel: Years ago, I was down there with my cousin’s wife Corky. She was wild — she wore makeup on her legs, and she had a streak in her hair like Yvonne De Carlo in “The Munsters.” She liked to paint. I had overalls on with just a T-shirt and looked like whatever. We were trying to buy a bunch of supplies with my cousin Jesse’s credit card. They looked at the credit card, and then they looked at us and thought maybe we stole the card, so they called Jesse up. He was a doctor who became the head of trauma at St. Vincent’s. They said, “There’s somebody here with this credit card and we want to know if it belongs to you.”

He said, “Well, does the woman have dyed blonde hair and fake eyelashes and look like she stepped out of the backstage of some kind of silent movie, and is she with some guy who has wild hair and is kind of dressed like a bum?”

“Yeah, that’s them.”

“Yeah, that’s my cousin and my wife. It’s okay, they can charge it on my card.”
~ Julian Schnabel Remembers NYC’s Now-Shuttered Pearl Paint

MB Cool. I was really interested in the aerial photography from Enter the Void and how one could understand that conceptually as a POV, while in fact it’s more of an objective view of the city where the story takes place. So it’s an objective and subjective camera at the same time. I know that you’re interested in Kubrick. We’ve talked about that in the past because it’s something that you and I have in common—

GN You’re obsessed with Kubrick, too.

MB Does he still occupy your mind or was he more of an early influence?

GN He was more of an early influence. Kubrick has been my idol my whole life, my own “god.” I was six or seven years old when I saw 2001: A Space Odyssey, and I never felt such cinematic ecstasy. Maybe that’s what brought me to direct movies, to try to compete with that “wizard of Oz” behind the film. So then, years later, I tried to do something in that direction, like many other directors tried to do their own, you know, homage or remake or parody or whatever of 2001. I don’t know if you ever had that movie in mind for your own projects. But in my case, I don’t think about 2001 anymore now. That film was my first “trip” ever. And then I tried my best to reproduce on screen what some drug trips are like. But it’s very hard. For sure, moving images are a better medium than words, but it’s still very far from the real experience. I read that Kubrick said about Lynch’s Eraserhead, that he wished he had made that movie because it was the film he had seen that came closest to the language of nightmares.

Matthew Barney and Gaspar Noé