Opening with a striking shot of a wasp crawling out of a gash on an unknown man’s wrist, Dementamania sets its stall out from the get-go. An intriguing and twisted
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thriller, Kit Ryan’s second feature has proven to be one of the most divisive films of
Film4 FrightFest, where it world premiered on Friday. For those willing to go along with a film that treads a fine line between reality and dreams, there is a lot to admire even if the film’s denouement attempts to wrap things up a little too neatly to its detriment.
It all starts off conventionally enough as bored office worker Edward (Sam Robertson) is stung by a dying wasp in his apartment. Making his way into work as usual, Edward meets up with one of his managers, David (Geoff Bell), and promptly proceeds to tear a piece of flesh off his neck. Or so it seems, for this proves to be one of several visceral hallucinations that Edward encounters during his day as it spirals out of control, leading to an all-too-real moment of shocking violence. Along the way, he meets up with the mysterious Nicholas (Vincent Regan) who may or may not know what’s happening to Edward…
Wearing influences such as Jacob’s Ladder on its sleeve, Ryan – along with DoP Gerry Lively – ensure that the film is never dull to look at and is consistently stylish, with the hallucination sequences
a gore-filled standout, including a terrific walk-through of the aftermath of an office massacre. A lot of thought
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film’s camera angles and POVs which only becomes apparent as the mystery is unravelled, and should increase the film’s rewatch value. Fortunately, it avoids being a case of style over substance thanks to the strong central turn from Robertson, equally adept at portraying numbness at life’s trivialities as he is at portraying someone who might well be truly murderously insane.
However, as the film heads towards its climax, it all falls apart somewhat. Anis Shlewet’s script delivers a nice concept but then Shlewet appears to lose faith that the audience would be happy with ambiguity, and instead falls back on an age-old reveal that a more clued-in viewer
would probably have inferred anyway. It’s made
all the more disappointing when the film delivers as striking an image
as its opening shot, fades to black but then does a Return of the King and returns for a different ending altogether. It all somewhat diminishes what is otherwise a gem of a dark psychological thriller meaning that as the credits roll, you half-wonder what might have been.
place of a trailer (which has yet to be released) watch this interview with one of the film’s stars, Sam Robertson.