Searching: A new age digital thriller
Director Aneesh Chaganty tells the story of a father searching for his missing daughter, using the internet and technology as storytelling devices
Afew years ago filmmaker Timur Bekmambetov, one of Russia’s top grossing directors of all time, completely shifted his perspective on the language of movies. The Russian Kazakh filmmaker had been telling stories the traditional way his whole career, breaking out internationally with the boisterous action and daring visuals of the 2004 vampire saga Night Watch, 2008’s Wanted, 2012’s Abraham Lincoln: Vampire Hunter and in 2016, the ill-fated big budget remake Ben-Hur.
But Bekmambetov realised that he, like the rest of us, was spending much of his daily life glued to his devices. We build lives, careers and relationships around them; communicate through them; connect through them; learn about the world from them. We live digitally. Why weren’t the movies reflecting our new reality?
“I don’t know if it’s bad or good, but I feel that half of my life — the most important events of my life — are happening on screen today,” said Bekmambetov on a recent afternoon at his Los Angeles office. “I’m finding friends, losing friends, falling in love, losing people I love, making projects, collaborating and fighting and arguing.
“Most importantly,” he added, “I make moral choices online, because to tell the truth or to lie is a lot of what is happening online today. And you can’t really understand today’s world and relate it to the characters of today’s world without looking at their screens.”
With that revelation came a sharpened focus and a new mission. The result is Bekmambetov’s passion project, Screenlife, a developing technology in which stories are told through the lens of our everyday lives via computer screens.
The fascination started in 2014 with the Bekmambetov-produced horror hit Unfriended, a social media Skype thriller from hit factory Blumhouse Productions set entirely on the screen of a teenager’s computer. The film made $64 million (Dh235.02 million) off a modest $1-million budget — making Bekmambetov’s interest in screen-told stories potentially extremely profitable.
Bekmambetov and his Bazelevs production company have now made seven international narrative feature films using Screenlife, including the sequel Unfriended: Dark Web released in July and the Bekmambetov-directed Profile, based on the true story of a journalist catfishing a potential jihadist source online, which won audience awards at the Berlin and South by Southwest film festivals.
In essence, Screenlife turns a computer screen into an actor’s “set,” and their dynamic usage of apps, websites, text chats and activity is recorded as “footage.”
It’s a technique very similar to what audiences will see in Searching, out this Thursday in the UAE, directed by Aneesh Chaganty, as a father (John Cho) seen only through a computer screen clicks through his missing daughter’s desktop and social media for clues to her disappearance. Emotions run the gamut and crucial information is conveyed in watching how he interacts with the computer.
The thriller premiered at this year’s Sundance Film Festival, where it won the audience award in the Next section — devoted to “pure, bold works distinguished by an innovative, forward-thinking approach to storytelling” — and the Alfred P. Sloan prize given to films with science or technology themes. Although Bekmambetov is a producer on Searching, Chaganty did not use the specific
QUOTE-UNQUOTE “To learn how to live in this world is really important, but the only way to do it is to tell stories.” Timur Bekmambetov, Film producer
Screenlife screen-capturing technology for the project.
Rather his Silicon Valley-set Searching speaks a cinematic dialect of this new film language Bekmambetov is championing. “We completely live our lives on screens, and the way that screens have been used in storytelling, they’ve never been used cinematically,” Chaganty said. “If you cut to a cell phone it’s always this weird user interface or if you cut to a laptop it’s a made-up website that no one ever knows... it was always technology as an idea of technology, and not the technology itself.”
Chaganty and writer Sev Ohanian resisted making a Screenlife feature until they felt they had a concept that wasn’t purely gimmicky. Then they came up with an emotional opening scene that pulls in the viewer and gives context to characters’ history by mouse-clicking through a family’s shared computer and its con- tents. “It’s Up meets a Google commercial,” said Chaganty of the sequence that helped crack the Searching narrative arc, investing the viewer in what will become Cho’s character’s increasingly distraught quest for answers. As Chaganty discovered: “You don’t need to show someone’s face. You can just show a cursor to make [the audience] cry.”
TECHNOLOGY AND LIFE LESSONS
Bekmambetov describes Screenlife as the new folktale-telling, an expression of a collective cultural experience all of us as connected online users are only starting to understand. And filmmakers and artists, he says, have the responsibility to reflect and explore the anxieties, lessons and rules that emerge from this time of fast-changing technology. The implications on how we live today are too big to ignore.
“To learn how to live in this world is really important, but the only way to do it is to tell stories,” he said. “If you create mythology, tell a story, create a character and deliver the message emotionally, then a lot of people will watch a movie called Searching and they will understand, because of this movie, that parents should pay attention to the world of their kids.”
He smiled, unwrapping a chocolate from a bowl of his favourite childhood candies. “I can write it as a sentence: ‘Parents should pay attention to how their kids live online.’ But nobody will follow. After this movie people are saying, ‘Oh my God, I should probably talk to my kids.’”
Once he realised the dominance of screen language in contemporary life — that we all feel the pang of queasy, impatient anticipation watching the dot-dot-dot of a text reply being written, or recognise the second-guessing doubt that a hesitating hover of a mouse can signify — there was no returning to the same conventional Hollywood filmmaking. “I had a feeling that I cannot go back,” he explained. “That to make traditional movies is kind of a little boring, because you know how to make these movies. They’ve been made for a hundred years!”
“Any movie you see in the theatre today, you have a feeling that you’ve seen it before,” he continued, pointing out the latest Tom Cruise vehicle, Mission: Impossible — Fallout, as an example.
“Mission: Impossible — it’s comedy!” he said. “I’ve seen the same thing many times — it’s good, very well made, great action, but I’ve seen it many times. And I know that the people who made it, know how to make it. They knew how to make it five years ago and 10 years ago.”
He waves it away, smiling. “I’m not saying that traditional cinema will disappear, I’m saying that traditional cinema is not relatable anymore. Today’s bank robbery is not the guy with a gun screaming, ‘Give me cash!’ — there is no cash anymore in the bank. There are digits, numbers. Today’s bank robberies are a young boy with an iPhone hacking the bank system.”