Triangle (Christopher Smith, 2009)

The phenomenon of déjà vu–already seen–is used when one talks about narratives like this. Without encouraging it too much in those whose experience with this surprisingly economical film has been limited to word-of-mouth or come-hither glances, suffice it to say that Triangle encourages this phenomenon–in its non-pejorative sense–in us. Reused lines, recycled footage, revisited sequences all abound. The eerie paranoia that seeps foglike through the abandoned ship where most of the action refolds is compounded by the cinematography, which catches movement reflected in the corners of our eyes or swiftly moving past our field of sight and points-of-view which may or may not belong to someone we’ve been following. As the narrative coils back towards its foregone conclusion, we’re almost sure we’ve seen some of this before, after the film throws backward another haunting image, another fully unexpected sequence.

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