A man who is a heavy online user of real life voyeur shots has his teenage daughter come and stay with him shortly before she heads off to university. This is the basic plot and it is perhaps no great surprise to learn that the presence of the man's daughter is somehow going to trigger action regarding the online shots. I had assumed that she would show up in one of them and true enough this was the case. Despite the plot going as I assumed, it does still just about work because it is well delivered and has a good somber ending.
The story takes a patient pace and makes it very much about Elliot's feelings towards himself than it does about the Anorak in particular. This makes the film more engaging and also makes the conclusion more satisfying and meaningful – because shame is only usually temporary and the addiction returns. This approach also gives Cunningham more to work with and he does a good job of holding the attention as a flawed character. His anger is outward in terms of what his actions say but Cunningham does well to show us that it is inward too, albeit less obviously. Support is fine from Wren and fellow Game of Thrones actor Dormer. Fingleton's direction is patience and well done, with good cinematography and a sense of tension and dirtiness in some regards.
The film never totally gets away from the obvious narrative device and coincidence but it has enough to hold the interest as it is atmospheric and features a very good turn from Cunningham.
The story takes a patient pace and makes it very much about Elliot's feelings towards himself than it does about the Anorak in particular. This makes the film more engaging and also makes the conclusion more satisfying and meaningful – because shame is only usually temporary and the addiction returns. This approach also gives Cunningham more to work with and he does a good job of holding the attention as a flawed character. His anger is outward in terms of what his actions say but Cunningham does well to show us that it is inward too, albeit less obviously. Support is fine from Wren and fellow Game of Thrones actor Dormer. Fingleton's direction is patience and well done, with good cinematography and a sense of tension and dirtiness in some regards.
The film never totally gets away from the obvious narrative device and coincidence but it has enough to hold the interest as it is atmospheric and features a very good turn from Cunningham.