Each on-screen movement is slightly delayed, creating blurry after-images that add to the film’s eerie mood. In every one of the film’s many brutal action sequences, the camera does not shy away from the violence, instead zooming closer so that every last gory detail can be seen in claustrophobically close proximity. Each frame is overflowing with swirling colors and pulsating lights. Where the film truly shines is in its technical aspects, namely its visuals and sound design. The narrative also relies on the audience’s investment in Red’s vengeance, but since his relationship with Mandy is only relegated to a few minutes of exposition, it is difficult to care very much about whether or not he succeeds. Additionally, major plot points, such as how Red just happens to be a skilled fighter and welder, are left unexplained. It is frequently interspersed with sequences in which it is unclear whether what is on screen is a dream or reality, and it heavily utilizes strange and abrupt cuts that are jarring and disorienting. What follows is a straightforward revenge plot that doesn’t pull any punches and draws a lot of blood.ĭespite a fairly uncomplicated storyline, “Mandy” is rather confusing to watch. Red is understandably devastated, and seeks vengeance against those who snatched his love away from him. In retribution, Jeremiah and his followers burn her alive and force her husband to watch. Despite being drugged, Mandy refuses to be seduced by the cult leader, Jeremiah Sand (Linus Roache), and laughs at his attempt to woo her. They live a tranquil and secluded life in the woods until the leader of a cult of - in Red’s words - “Jesus freaks” decides he cannot be without Mandy, and enlists some hell-sent demons to abduct her and bring her to him. Set in 1983, “Mandy” introduces the audience to a couple who is deeply in love, lumberjack Red Miller (Nicolas Cage) and artist Mandy Bloom (Andrea Riseborough). And while it doesn’t work as a coherent movie, it is certainly a sight to behold. Despite the bizarre nature of his vision, Cosmatos was not deterred from making “Mandy.” The result is a bold, brash film that strings the audience along on a ride to an unknown destination. It is relentless, off-putting and absurd. Director Panos Cosmatos demonstrated his bravery with his latest film, “Mandy,” perhaps the most psychedelic, phantasmagoric two hours you will ever spend in a theater.
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