VIKRUT

VIKRUT is the new thriller piece from director Sandip Sharma and tells the twisty story of a serial killer. The exciting setup is the following: a man is riding in a taxi in the middle of the night, but as the radio begins to describe details of an elusive serial killer, we begin to suspect the passenger is the criminal... but we can’t be sure. It’s a dark movie with some really grizzly moments. It’s as engaging as it is shocking; although, it has a meandering feel about it, and some moments lack that technical smoothness. It’s a movie which begins as a Hitchcockian mystery and transitions to a full-on gore-fest, yet it does this rather smoothly. VIKRUT is a strong work consisting of intelligent direction and skilled performances – only ever let down during the most lax or static moments.

From its opening moments, there’s a striking – and rather wonderful – use of location, atmosphere, and setting. This film is entirely set at night, and not only does this heighten tension and mood, but it also challenges our rather talented cinematographer to craft the light through things like streetlamps and car lights. The first half of the piece looks terrific because of this; and since the motorway location in question is completely empty, there’s an eeriness to what we’re witnessing; a desolate, lonely use of mise en scéne which serves to build a sense of danger.

This thriller only contains two actors - and, thankfully, they’re both pretty great. Audiences will buy into the reality of the film because of the performers’ use of facial expression, which allows us as viewers into the emotion of the story. What this means is that, when a certain plot-twist occurs halfway through the runtime, it lands with impact. Some may try to argue that there’s ‘overacting’ in this movie; but when I’m watching a short, twisty, genre-film, I like my acting big and broad – which this delivers during its denouement.

A big issue with this movie is its questionable use of music. During the most dramatic and gruesome moments of the picture, a distracting beat will be playing in the background. Since the drama is already heightened enough, it would benefit the piece if certain scenes were left without music. Instead, focus can be paid on the audio design and soundscape. When a film is working within territory such as this - as opposed to drama or comedy for instance - sound can play an active role in the terror and atmosphere of the narrative. But leaning on generic music can often be the wrong way to go; we’d rather hear more detail in the squelching, or even in the background sound of a particular location... the little things.

But all in all, there’s some great ambition on display in VIKRUT. The fundamental decisions made during pre-production – that concerning location, time of day, and even casting – ensure that the film is more than watchable. Despite its inherent clunky moments, there’s a great deal to enjoy in this new and unnerving thriller.