Sound of My Voice
Sound of My Voice (2011)
★★★ / ★★★★
Peter (Christopher Denham) and Lorna (Nicole Vicius) decide to make a documentary about cults. Blindfolded and put into a van toward an undisclosed location, we can tell almost immediately that it isn’t their first time. They are much too calm for a pair being stripped down of their defenses. In the basement of an unknown location, Peter and Lorna, along with two new recruits, meet Maggie (Brit Marling), the leader of the group. Surprising in that she is young and beautiful, equally surprising is her claim that she is a time traveler from year 2054.
Written by Brit Marling and Zal Batmanglij, “Sound of My Voice” is like sitting across a ticking clock in a room of absolute silence, each click feeling like a portentous communiqué, a countdown to an interaction with a mysterious, possibly sinister, force. The film flourishes in small but calculated scenes that take place in a basement, claustrophobic but bathed in yellow glow served to alleviate suspicion.
Rituals that the cult members go through are bizarre both in terms of concept as well as placidity of those wishing to belong. The brainwashing process is uncomfortable, creepy, and intense. The scene involving an apple forced me to hold my breath in anticipation while my mouth dropped open in disbelief and disgust.
If I were Lorna or Peter, after having witnessed and experienced the physical, emotional and psychological manipulations, I would have relinquished all connection to the group and never looked back. And just when I asked myself what Peter and Lorna hope to get from the experience, the writers are quick to acknowledge why the duo feels, as a team, that they must continue the research.
Marling is quite menacing in portraying the cult leader. When Maggie’s claim of having come from the future is threatened, she lashes out in a subdued manner, a technique much more effective than screaming and yelling. We almost get the feeling that if she lost control of herself, therefore the situation, the chinks in her bewitching facade would become all too visible. That is, if she is, in fact, lying about hopping across time.
Its most engaging aspect is the possibility that Maggie is telling the truth. An array of evidence that support and undermine her claim is presented to us. The fact that there is no answer considered as absolute is its ultimate spell. The way we interpret the events that unfold may say a lot about us and our capacity to think critically, not only in taking into consideration the secrets and implications underneath the topsoil but how conflicting information mirror one another.
What the picture lacks, however, is a strong emotional connection between Peter and Lorna. I never really believed that they are a couple that can face the world together. So when their relationship is threatened by the ramifications of being neck-deep into the cult, it feels too much like a ploy rather than a natural hurdle that they have to overcome. Nevertheless, it is obvious that Zal Batmanglij, the director, has a specific vision and the talent to pull off a feat: to get his audience to question and consider multiple perspectives.
Now let’s return to the ticking clock I mentioned earlier. Imagine if someone had told you, while sitting in a bare room with nothing but four walls, a chair, a table and light, that the clock would set off its alarm in exactly thirty minutes. The problem is, you are never allowed to see the face of the clock nor are you allowed to touch it in any way. And this clock does not produce ticking sounds. So you decide to wait. And wait. How do you know you’re being duped?