Do No Watch is a multi-layered found footage film by Justin Janowitz about the discovery of unusual recordings that possess a malignant sentience that kills lives in multiple historical periods.
This discovered footage film has an impressive level of narrative ambition. It’s basically three pieces of found film combined into one, each from a separate chronology and all possessed by a sinister force that wants to break free by propagating outside of these digital records.
Video video of three persons searching for an enigmatic underground vault may be seen at its base. Edited by a small business hoping to generate a low-budget horror smash in the second timeframe. We follow two individuals as they look into what happened to the crew that edited the footage and, ultimately, what happened to that footage in the timeline that connects everything.
This layer cake of recovered film is perfect in terms of theme. The idea of using malicious media to disseminate anything viral is a perfect fit for the last ten years of social media, “content” development, and punditry. As with all horrifying real-life farce, it makes for an excellent horror film.
The viral nature of terms in entertainment from bygone eras may be traced back to movies like Pontypool and video games like Metal Gear Solid (MGS 2 and MGS V). Though in a less scathing and satirical way than that, Do Not Watch is a natural successor to this.
Still, there’s a meta-aspect to it. The video we watch has layers upon layers of the terrible entity in question. Via blinking messages and other graphical anomalies that are not intended to be in the other layers, bubble up into the viewer’s fourth layer.
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Considering how much the film must contend with, Janowitz’s ability to coordinate them all is truly remarkable. An advantageous byproduct of this is that it seamlessly integrates into the film’s composition, even when it is on the verge of disintegrating.
The result is the foundation upon which everything resides. Consistent with the film’s tone of obsessive insanity, every resolution is postponed, notwithstanding numerous indications that the subsequent scene will be pivotal.
Does Janowitz possibly stretch that a little too far in light of the results we obtain? Although each story does contain a direct conclusion, it falls short of being as eerie and jarring as it potentially could be. The concept that drives Do Not Watch forward is the notion of an entity propagating via video.
The implication is a more significant and intriguing aspect than the technical result. A video that is cursed and capable of transferring to other footage. Anxiety and despair are intensifying due to a sensation and an exasperating lack of answers. An emotion that inspires its audience to continue seeking them out.
Do Not Watch does not do itself many favors in terms of rewarding patience and providing immediate gratification due to its elusive nature. Although the delivery method is innovative and audacious, it is not without its flaws.
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However, I am in favor of a film that attempts to sow discord without resorting to sensationalism. In a traditional structure, the incessant cutaways from resolution can be understandably irritating. However, such behavior is characteristic of Do Not Watch.
If I had to choose one aspect that fell flat, it would be how the visual “spread” is executed in the concluding sequence. For those who may have been dissatisfied with the film’s conclusion, it appeared to be a concession. Although it does not qualify as a catastrophe, it did alleviate a portion of the oppressive atmosphere that I was experiencing.
Do Not Watch applies some inventive modifications to the discovered footage model. This implies that a degree of audience accessibility is compromised as a result. This enhanced its intrigue to my own satisfaction; however, it is not difficult to imagine this offending certain individuals.
Score: 7/10
