Tiago Teixeira, “Wrong Number” (2018)
An odd little film with just two characters, “Wrong Number” is a study of anxiety and the tension that come from premonition, culminating in psychological, perhaps even spiritual projection. A woman (Ellie Woodruff-Bryant) wakes up early in the morning from a nightmare and is too frightened to go back to sleep. Her husband (Nicholas Anscombe) asks her what the dream was about and she replies that it was foretelling the immediate future in which something very bad has happened to them both. She eventually returns to bed anyway, he wants to know if she is in the mood for love-making but she declines.
Later in the morning he leaves for work and the rest of the day passes uneventfully. She texts him about work – he is working on a late shift – and he confirms he’ll be home when she has gone to bed. Sure enough, when she wakes again at 3 am in the morning, he’s beside her in bed and they have sex. Some time later she wakes up and finds herself covered in blood. Startled, she puts on her housecoat, walks into the lounge-room and sees a shadow in the vague shape of her husband standing in the corner.
Most of the film takes place in the early hours of two mornings so it is very dark and viewers can just barely make out the actors’ faces and forms. The shadowy look of the film, its emphasis on blue and dark blue colouring, emphasises the nearness of death, the dissolution of the boundaries between the living and the dead, and the fear and dread that can be aroused when one has just awakened from a nightmare and is still in a twilight zone between being fully conscious and aware, and being sleepy with your mind and emotions open to external psychological phenomena. Woodruff-Bryant does good work as the woman quite literally caught between two worlds, one of the living and one of the dead, but the limited and narrow nature of the plot does not allow her to do a great deal more than worry or express fright.
While the acting and the atmosphere are good, and the film does give a good sense of the grey zone between the living and the dead, in which the living and the dead may actually meet (with very alarming results), the plot is so vague as to be confusing for viewers. Does a meeting really take place or is the woman projecting her fears about her husband into actual physical form? The film deliberately leaves this question open to viewers. It may be asking too much of them.