Gothika

Gothika
by Mathieu Kassovitz (2003)

The brilliant Dr. Miranda Grey finds herself in one of the cells of the hospital where she works, accused of murdering her husband.

Quote.

“How can you trust someone who thinks you’re crazy?”
(Chloe Sava)

On the Other Side of the Bars.

It is bizarre, almost mocking, what fate has in store for Dr. Grey. She finds herself in a padded cell, looking at the world from what has always been her patients’ point of view. She knows she is not crazy; she knows she has to fight to prove it. The accusation that has fallen upon her is a serious one: everyone thinks she brutally killed her husband, as if in a fit of madness. But she doesn’t remember anything specific. Only that she was driving her car on a dark and stormy night. She recalls a blonde girl in the middle of the road, appearing out of nowhere, like a ghost; only with a sudden and sharp maneuver was she able to avoid hitting her. A girl who caught fire right before her eyes. And then nothing, darkness. A total blackout.

Considerations.

Mathieu Kassovitz makes his first American film after some good films made in France, such as the stunning second feature “La Haine.” In reality, this work features a multinational crew: a Spanish screenwriter, an Australian production designer, a Canadian cameraman, American actors, and a French director. Gothika is a good thriller with dark and haunting atmospheres, even distressing, which, however, fails to make the leap in quality one would expect from Kassovitz. On one hand, the film is undeniably well-crafted and contains some memorable scenes, such as the appearance on the bridge. On the other hand, unfortunately, it lacks a bit of originality. It is also worth noting that some visual solutions feel very clichéd. What really captivates, more than the resolution of the mystery, is the journey undertaken by the protagonist to prove her innocence against all odds. In this sense, Halle Berry delivers a very convincing and never over-the-top performance. Also noteworthy (and commendable) is Cruz’s role as a patient at the institution. For the rest, the screenplay plays a lot on the contrast between what is real and what is illusory, addressing themes such as madness, the distortion of reality, and guilt. The soundtrack and cinematography do their job excellently, contributing to creating anxiety and fear.

Conclusions.

Gothika is still considered an interesting film for fans of psychological thrillers with a paranormal background. Indeed, it is a well-crafted and acted film, but it remains confined within its comfort zone, never daring to go further. And this, undoubtedly, leaves a bit of a bitter taste.

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