Cannes

Afterschool

By JUSTIN CHANG

Writer-director Antonio Campos' awareness of the omnipresence of vid footage in the lives of America's youth suggests a fascination with themes of voyeurism, violence and the ethics of image-making in 'Afterschool.'

A Borderline Films production, in association with Hidden St. Prods. (International sales: Coproduction Office, Paris.) Produced by Josh Mond, Sean Durkin. Executive producers, Andrew Renzi, Victor Aaron, Susan Shopmaker, Rose Ganguzza.
Directed, written, edited by Antonio Campos.
 
With: Ezra Miller, Jeremy White, Emory Cohen, Michael Stuhlbarg, Addison Timlin, Rosemarie Dewitt, Lee Wilkof, Paul Sparks, Bill Raymond, Gary Wilmes, Christopher McCann.

 

First-time writer-director Antonio Campos' awareness of the omnipresence of vid footage in the lives of America's youth -- from violent YouTube-style clips to Internet pornography -- suggests a fascination with themes of voyeurism, violence and the ethics of image-making a la Michael Haneke. But "Afterschool," his drearily austere look at a disaffected teen coming to terms with tragedy at an East Coast prep school, unsettles without illuminating, marred by narcotic pacing and a blank lead performance. Ice-cold downer will be a tough sell beyond fests and the most adventurous of indie distribs.

Skinny, socially awkward sophomore Robert (Ezra Miller) has a taste for rough porn and few friends. When two girls suffer fatal drug overdoses on campus -- captured and presented, unnervingly, on his video camera -- Robert becomes increasingly troubled and withdrawn, a condition Campos attempts to probe in context with the school's toxic atmosphere of adolescent prurience and misguided authority figures. Clinically detached tone and lack of music lend pic a docu-like feel, and Campos keeps the viewer unbalanced with static, off-kilter compositions. But the dialogue often sounds self-conscious and false, never offering the insight that would mitigate the drama's punishing grind.

Camera (color, widescreen), Jody Lee Lipes; music, Rakotondrabe Gael; production designer, Kris Moran; costume designer, Catherine Akana. Reviewed at Cannes Film Festival (Un Certain Regard), May 18, 2008. Running time: 121 MIN.