The psychological impact of COVID-19 isolation and anxiety propels one woman’s downward spiral in Into Schrodinger’s Box, a tense, topical psychological thriller from directors Amir Ganjavie and Nasim Naghavi. The feature, written by Alireza Kazemipour and Ganjavie, premiered at the 2021 Big Apple Film Festival (Spring Edition).
The film follows Sofia (Ada Shkalla), a young pianist who returns home from a work trip early to find her husband, Martin (Geoff Mays), unresponsive. When medics determine he’s suffering from COVID-19, they take Martin to the hospital, test Sofia for the disease, and instruct Sofia to quarantine at home for fourteen days. Anxious and alone, Sofia’s isolation is compounded by fears of intruders in her house, but the lack of evidence invites police to suggest she is experiencing hallucinations. As Sofia sinks deeper into the grips of paranoia and stress, a young woman named Lilith (Lee Lawson) arrives on the scene, forcing Sofia to reevaluate her relationships and what she knows to be true about her life.
While the film’s subject matter of COVID-19 hits close to home and it had the potential to be too much, too soon in the midst of the pandemic, the film uses our pandemic anxiety and heightened emotions to move us beyond the coronavirus into the heart of Sofia’s psychological battles (is she hallucinating, or is she not? Is Lilith real, or is she not? Is Sofia suffering from COVID-19, or is she not?) and her shifting relationship with Lilith.
Sofia and Lilith’s dynamics are particularly intriguing to watch unfold, and the two actors shine in their scenes together. Lee Lawson as Lilith is fantastic, exuding raw fear and anxiety when she finds herself trapped in a bathroom, and using body language to build the emotional connection between her character and Sofia as their relationship evolves throughout the film. Ada Shkalla has a tough job carrying much of the film, but she manages it well. She occasionally sounds and presents as scripted, such as during her initial phone conversation with Martin’s son and in her body language for certain reactions, but overall Shkalla gives a strong performance. She also plays to her physical condition worsening, but it is somewhat undermined by her eternally flawless make-up. Despite awaiting her COVID test results, Sofia continues to feel more ill throughout the film, so we expect her image to reflect her condition.
As a psychological thriller, Into Schrodinger’s Box creatively succeeds in delivering great twists, engaging viewers, and leaving us with questions about the film’s narrative events. It encourages us to rewatch, rethink what we’ve seen, and debate different theories together. The film’s title is also a wonderful creative choice as it plays extremely well into the film and further encourages conversation. The film’s puzzle continues to elude me in an intriguing way, and I look forward to deconstructing the narrative with other viewers.
A couple of minor details and production choices in the film around dealing with COVID strike me as odd. For example, it is unrealistic that a police officer aware of Sofia’s exposure to COVID-19 and quarantine would not have a mask on hand to wear when entering Sofia’s house. The officer states that he doesn’t have proper PPE, but it seems unbelievable these days for any person, let alone a police officer, to not have at least a mask readily available. In addition, when Sofia video calls a hospital medic to see Martin, Sofia’s enthusiastic reaction to his condition contradicts the severity of his state—he’s on a ventilator, and Sofia comments that she’s “glad [he’s] alright.” These are minor details in the grand scheme of the film, but they disrupt the viewing experience somewhat.
The high production quality and excellent cinematography stand out in the film. The shots are framed beautifully, including a particularly exquisite shot of Lilith in a red dress in a bloody bath tub. The camerawork heightens the tension and emotion, playing off Sofia’s fear and stress to affect our own. For example, an extreme close-up of Sofia’s anxious eyes as she looks through the blinds for signs of her intruder puts us on edge. In addition, the use of sound and the film’s accompanying score work in tandem with the cinematography to reflect and amplify the dramatic moments and emotions onscreen as well as those of the viewers.
Into Schrodinger’s Box is a dark and psychologically compelling film charged with tension, and it creatively executes its intriguing premise. The lead actors’ solid performances serve the film well, and the high production value elevates the film. While the narrative ambiguities give rise to many questions and theories, one thing’s for certain: Into Schrodinger’s Box will leave viewers discussing the film long after the credits roll.
© 2021. UniversalCinema Mag.