Fan The Fire

Cannes Film Festival Review: Catch Me Daddy [film review excerpt]

From here, the film becomes a truly nightmarish vision. The disorientating darkness of the moors seems to play with the very foundations of time and space. Distances contract – one moment the pursuers are whole towns away, and then suddenly they're right on our tails again. In such darkness, sound becomes our primary guide: the rustle of gorse whipping past and the sound of gurgling streams feels primal and strangled when combined with the unearthly din of Matthew Wolfe and Daniel Thomas Freeman's primordial score. This overpowering chaos is interrupted only by flashes of torchlight and the screams of names and obscenities in the night. It is an intense and impressive section of the film that perhaps plays into Wolfe's technical acuity as a renowned music promo director.

Nick Deigman
Tuesday 20 May 2014

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