STATE LIKE SLEEP: Slick But Ultimately Flat Noir
State like Sleep follows a young woman as she searches for answers after her husband commits suicide. This brings her to some unsavory places, uncovering unsavory truths, but as a mystery the movie doesn’t work as hard to succeed as it does at looking the part.
There’s plenty to admire in its attempt, but the film just doesn’t quite grasp, and when it does, it lets go to soon.
What’s Going On?
Some time has passed for photographer Katherine (Katherine Waterston) since the tragic loss of her husband, famed acting star Stefan Delvoe (Michiel Huisman). She’s brought back to Brussels when her mother Elaine (Mary Kay Place) suffers a stroke and is in the hospital. This invites her back into their apartment, as his mother Anneke (Julie Khaner) has kept the place exactly as it was when Katherine found him dead.
This sends the thunderous weight of loss upon her once more, paired with her mother’s ailing health. She isn’t there with the intent to hunt down the truth about his apparent suicide, but when she locates his phone that had been missing, layered with calls from numbers she doesn’t recognize, one commences none the less. Being the celebrity that he is, there were multiple TV reports on the subject, analyzing his known drug addictions and their tumultuous relationship. There was also an altercation with a paparazzi that occurred when photos of him with an unknown blond woman surfaced.
Through her investigating she discovers a seedy underground club run by Stefan’s childhood best friend (surprise!) Emile (played with heavy handed sleaze by Luke Evans). Katherine soon learns that there is a lot she didn’t know about her husband, which adds confusion to an already heart aching reality. Emile is clearly suspicious, but of what she doesn’t know.
Did he really kill himself?
On top of the wounds being reopened, she’s also dealing with the fragility of her mother’s condition. Enter an American guest at the hotel Edward (Michael Shannon), who doesn’t give the best first impression, but quickly becomes what Katherine needs. It isn’t his usual sort of role, but Shannon aggregates the character and together the two have terrific chemistry.
Moving Performances Aren’t Enough
State Like Sleep jumps to different times, including some fond and some fiery moments between Katherine and Stefan, showing their marriage was already on the rocks and that they were separating. Stefan isn’t painted particularly well, but his scenes are also a bit choppy.
State like Sleep draws us in with a tedious opening tour of the shared home of Katherine and Stefan. There are alcohol bottles strewn everywhere, indications of drug use, and a melancholy song on repeat. Eventually, the camera unnervingly slides over to reveal Stefan’s death. This sort of cool surface quality is practiced throughout the film’s entirety, and very rarely are we shown warmth or vulnerability. Which ends up being both its strength and its hindrance.
It’s a stark precipice for which the movie hugs the edge, clearly designing the shots for mystery and the noir genre. The movie moves at a gingerly pace, only really finding a rhythm for that tortoise-like intent about halfway through.
This challenges the viewer because, while the aesthetic is deservingly captured, it can lead to a disconnect. At times the movie seems almost ostentatious and becomes bogged down. There are too many spaces with little dialogue, and a lack of human connection. It works in moderation, but not as an invader.
Some things worth noting: this film looks excellent, chic and entirely moody for its intended purpose. Even Waterston’s outfits and those of the underground club’s are all memorable (applause for the costume designer Melissa Shouldice). It is also chock full of talented people even if the script doesn’t allow them breathing room.
Mary Kay Place (though her part of the story seems a bit threadbare) and Julie Khaner each stand out, both as mothers, and each with contrary personalities. Place is genial, while Khaner is haughty and intense. Katherine Waterston gives a strong visage of grief, as her sorrow has severed her from really moving on. Unfortunately, her character doesn’t have much depth.
Writer and director Meredith Danluck fields the movie with confidence, and there isn’t a moment within the film that you don’t feel that. She uses an intriguing tone of mischief and allure, but it doesn’t progress beyond the intrigue. There’s a terrific seed of a film here, but it gets lost within the script that becomes a bit too convoluted.
The imagery of the movie arrives in a disorienting fashion with the help of a pervading score. The cinematography by Christopher Blauvelt is immensely hypnotic, with some proximity shots that are wonderful. I never had any trouble with the ambiance of the film, only the precipitating story.
Conclusion: State Like Sheep
State like Sleep lacks the presence needed to completely envelop the audience. There’s no urgency or thrill as we uncover the truths about Stefan that aren’t even particularly surprising. As a narrative dive into the complexities of grief the film grazes the surface but doesn’t commit.
I was waiting for a shocking reveal that never came, which made the rest of the film seem a bit arbitrary.
What did you think? Did you enjoy it? Let us know in the comments below!
State like Sleep is currently streaming and will be released in the US on January 4th 2019
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