Braid

Braid is a surreal 2018 psychological thriller that seamlessly melds the genres of horror, suspense, and drama. With its unique storytelling method and eye-catching stylistic choices, the film keeps viewers captivated from beginning to end. Braid's main stars, Madeline Brewer, Imogen Waterhouse, and Sarah Hay, are tasked with portraying a tangled web of friendship, love, and madness.

Directed by Mitzi Peirone, Braid is the tale of three long-time friends who, in the wake of dire circumstances, plunge into a dangerous game that bends the boundaries of reality and fiction. Fueled by Peirone's captivating screenplay and stunning visual palette, the film explores the fragility of the human mind, the power of imagination, and the fatal consequences that can arise when these two elements collide.

Braid opens on two friends, Petula (Imogen Waterhouse) and Tilda (Sarah Hay) who live together in New York City and find themselves in an inextricably dire situation. A drug deal goes awry, and they are short $80,000, which they owe to a dangerous drug dealer. The only solution that they can envision is to rob their wealthy, mentally unstable friend from childhood, Daphne (Madeline Brewer), who lives in an opulent mansion in Connecticut.

However, there is a catch to acquiring Daphne's wealth. Struggling with mental illness, perhaps consequence of a traumatic childhood accident, Daphne mandated a rule: anyone who enters her home must partake in a twisted make-believe game that she has created, which entails abiding by her alternate version of reality. Petula and Tilda, desperate for money, decide to play Daphne's game, unknowing of the dangerous escapade they are about to embark upon.

As the game begins, each of the woman is assigned a role – Daphne is the mother, Petula is the dad, and Tilda is their daughter. However, it is evident from the onset that the game is much more than a benign role-playing scenario. It is Daphne's distorted reality. The childhood home is far removed from the conventional world outside, and herein lies the film's central mystery.

As the boundaries between fiction and reality continue to blur, so too do the lines between friendship, love, and manipulation. Petula and Tilda become increasingly sucked into Daphne's mind, losing themselves in their false roles. Meanwhile, Daphne, erratically jumping from moments of vulnerability to violent outbursts, exercises her dominion over their shared universe, proving that she is no longer the innocent friend they left behind in their childhood years.

The performances by the trio represent a formidable strength of the film. Madeline Brewer, as Daphne, is intense and terrifying, enigmatically embodying a character whose innocence is slowly peeled away to reveal a menacing predator. Imogen Waterhouse and Sarah Hay, as Petula and Tilda, effectively portray a tragic friendship led astray by desperation and fear, their shared camaraderie leading them into a spiraling downfall.

The overall art direction and cinematography in the film are visually captivating. With a bright, pastel color palette and stunning set design, Braid exhibits a visually disconcerting beauty underscored with a palpable edge of lunacy. The director successfully inscribes an alluring yet macabre fairytale aesthetics to the movie, which delicately offsets the mounting horror and anxiety.

Braid is a film that toys with the viewer's perception, bringing them into a whimsically horrifying labyrinth where everyone, including the characters, is a pawn in an increasingly perilous game. It is a disquieting investigation of friendship, mental illness, and the lengths to which desperation can drive a person. For those seeking a uniquely frightening and psychologically engaging cinema experience, Braid is a must-watch.