There’s a bounty of phenomenal examples of actresses playing women slowly losing their minds in psychological genre films (Deneuve in Repulsion and Susannah York in Altman’s Images come to mind as some of the most iconic), and Rivas (memorable in her segment of Damian Szifron’s Wild Tales, 2014) as the entertaining and increasingly unhinged Ines is of this caliber. But as Ines starts seeing things and experiences more and more aggressive dreams, she decides to seek more invasive assistance. ![]() Meanwhile, choir practice has been consistently interrupted due to the tuning of an organ by Alberto (Nahuel Perez Biscayart), whom Ines takes an instant liking to. A chance conversation with another actress in the dubbing studio suggests she has an ‘intruder,’ a presence which can seep into the subconscious through one’s dreams and wreak havoc. Likewise, in choir she’s been reevaluated as a mezzo instead of the soprano she’s always been. It seems the sound engineer is picking up aberrant sounds which appear to be coming from her vocal cords in her dubbing performances. Recovering from this trauma, her mother (Cecilia Roth) arrives for an extended visit while Ines begins to experience strange happenings at work. Recently, she’s begun dating Leopoldo ( Daniel Hendler), but their first vacation as a couple begins disastrously and ends tragically. Bolstered by an increasingly intense performance by Erica Rivas, who is supported by several noted Argentinean performers of international renown, it’s an oddly captivating odyssey which makes for as interesting a conversation piece as it does a cinematic experience.ĭubbing artist and choir soprano Ines (Erica Rivas) lives a comfortable life in Buenos Aires. Fieling, Meta consistently defies expectations in a film which eventually reveals itself to be more complex than any synopsis of its narrative could possibly dictate. ![]() ![]() Based on a cult 1996 horror novel, El Mal Menor by C.E. The Sound of My Voice: Meta Delivers Masterful Psychological Identity Horrorĭoes it come from without or within? ‘It’ being the perception of danger, delusion or paranoia in the case of the swift descent of the protagonist in The Intruder, a layered psychological genre piece from Argentina’s Natalia Meta, her first film since the 2014 debut Death in Buenos Aires.
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