Anna (Grace Glo 8ickiit’s not okay. In the writer / director Mary Dautermanher directorial debut, in the mid-twenties, The New Yorker is grieving the loss of her roommate and best friend, Izzy (Sofia Dobrushin). She’s dodging calls from her Devon co-worker for repeatedly missing work, eating dodgy Thai food that Izzy left in the fridge and refusing to admit that her boyfriend Max (Garrick Bernardhe may also be upset about Izzy’s death.
And then Booger, the stray cat she and Izzy adopted, escapes through the window.
The cat is the dick that breaks the camel’s back for Anna, who is discovered when the last symbol of her relationship with Izzy disappears. Her attempt to recover the pet becomes a comprehensive quest, resulting in a downward spiral involving surreal dream sequences, dark drinking noises, and unusual cat-like behavior.
Because Booger it is adjacent to the genre, that unusual behavior manifests itself as body horror. Before Booger disappears, he bites the side on his hand and, as the film progresses, the wound becomes infected and the cat’s hair begins to grow. Anna also begins to exhibit other cat-like traits, including an increased sense of sight and smell, a propensity to sleep under furniture, and – in the film’s most disturbing moments-hacking hairballs and eating wet cat food.
In addition to these physical changes, Ana begins to experience surrealist, red-lit nightmares in which a giant Booger presides over her changing body. In these dreams, Anna often finds herself caressing, caressing and grasping a massive expanse of black fur (an indelible evocative image for a low-budget feature) before waking up in the woods.
Boogerthe desire for disgusting moments is carefully balanced by Dauterman for maximum impact. The elements of body horror are a combination of the practical effects and very dedicated performance of Globbicki, which requires the actress to spend a considerable amount of time dry lifting, pulling wet hair from the mouth and vomiting (there are much of toilet time in the movie).
It is all very effective, even when it is immediately clear that these manifestations are hallucinatory embodiments of Anna’s grief. It is important that the images are so evocative given that Boogerhis story is relatively straightforward and well-known. At the core of her, Booger In the end it is for Anna who will face her loss in her time.
This means that a large part of the narrative plays out as expected. When Izzy’s mother, Joyce (a great Marcia DeBonis) mention a celebration of life ceremony, we know that Anna will fight with him. While she constantly avoids calls from work and calls from her landlord, it’s only a matter of time before Anna finally faces the financial consequences of avoiding her adult responsibilities.
It’s an extremely challenging central performance, in large part because Anna can be unpopular: she’s tough, quick to anger, and focused on her pain. These characteristics are vital to why she – and the film – work; even in moments when we don’t like it, Anna’s grief, and therefore her actions, is always understandable. It’s messy and no amount of comforting or confronting Anna will get her out of her downward spiral.
This includes a messy drinking bender next to the memorial commemorating where Izzy died, watching old videos on Izzy’s phone, and a constant obsession with their love for the karaoke classic “Escape (The Song of Pipora Colada).”These moments are crucial to highlighting the huge role Izzy played in Anna’s life, while also making the dead friend an actual character in the narrative, not just a spectrum.
Thankfully Booger it’s much more than another introduction to the (recent) horror trend of grief porn. Instead, Dauterman wisely uses gendered elements to visualize and enhance the often intrinsic impact of maintaining (and losing) close female friendships. Anchored by Globbicki’s captivating performance, this dramatic picture of friendship, loss and Black Cats is watchable.
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