Digital-age Australian psychodrama tracks the shut-in mania of disaffected male fan, but doesn’t get inside his mind.
Touching on subjects including the attention economy, the male gaze, and incel isolation and misogyny, director David Ward feels both Max and Lenore’s pain.
Not just Max, but also his colleague Sam, an interloper outraged to find he was nothing special to Lenore and who turns up at Max’s door offering exclusive footage of her.
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Digital-age Australian psychodrama tracks the shut-in mania of disaffected male fan, but doesn’t get inside his mind.
Self-barricading in a basement room surrounded by screens, working on a documentary about the object of his disaffection, this obsessive shut-in makes Eminem’s Stan look like the Dalai Lama. Touching on subjects including the attention economy, the male gaze, and incel isolation and misogyny, director David Ward feels both Max and Lenore’s pain.
Like films about fictional pop stars that feature unconvincing music, it doesn’t help that the quickfire résumé of Lenore’s career only half-conveys her magnetism. A one-time beauty influencer called Veronica Brand, she later graduates to performance art-type stunts, such as livestreaming her miscarriage; a move that, spliced without her knowledge into a children’s TV broadcast, forced her into hiding. Not just Max, but also his colleague Sam, an interloper outraged to find he was nothing special to Lenore and who turns up at Max’s door offering exclusive footage of her.
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