Can Go Through Skin

Can Go Through Skin, directed by Esther Rots and starring Rifka Lodeizen, Wim Opbrouck, and Chris Borowski, is a riveting Dutch thriller from 2009. The compelling narrative revolves around introspection, survival, and psychological horizons in the context of unprecedented pain and loneliness.

The plot revolves around Marieke (Rifka Lodeizen), a young woman in her thirties living in Amsterdam. She portrays the quintessential urbanite leading a social life and enjoying herself until a severe incident shakes her life to its core. Disturbed and traumatized, Marieke leaves her bustling city life and secludes herself in a dilapidated house in the countryside, away from people, noise, and memories of the fateful incident.

The character of Marieke is composed and portrayed brilliantly by Rifka Lodeizen. Her character's strength and resilience evolve throughout the film, as she bravely faces the trials life hurls at her. Lodeizen herself received wide acclaim for her performance, making the film a must-watch for the fans of nuanced acting performances.

Wim Opbrouck plays the character of John, her new neighbor. He appears to be harmless and good-hearted at first, however, he is not what he seems. Whether he is anomaly or antithesis to the tranquility she seeks forms a significant portion of the plot. Chris Borowski as the handyman adds another layer of complexity to Marieke's new world. His presence and influence on Marieke take the narrative down unexpected and winding paths, keeping the audience on tenterhooks.

The film explores themes of fear, trauma, and psychological isolation with a raw and unflinching approach. Using the elements of realism, suspense, and mysterious narrative, Rots captures the protagonist's psychological state with finesse. The horror and anticipation lie not in the physical but the mental landscape of the narrative. The film meticulously builds up the drama, breaking down Marieke's mental state piece by piece, simultaneously building the intensity of her relationships with those she encounters in her isolation.

Shot in the quiet, eerily beautiful Dutch countryside, the cinematography of Can Go Through Skin highlights the intrusion of fear into the serene rural backdrop. The film paints a stark contrast between the gorgeous outdoors and the grim indoor activities taking place in Marieke's old yet sturdy house. The film portrays the dual aspect of both the physical landscape and Marieke's psychological state, oscillating between beauty and desolation, calm and chaos.

The storytelling and narrative structure are non-linear and fragmented, mirroring Marieke's mental state. Events from the past, present, and future merge, creating a disorienting experience for the viewers, much like the confusion Marieke is experiencing. This narrative technique enhances the storyline, as the audience experiences ambiguity and chaos, making them empathize with the film's main character.

Another strong aspect of Can Go Through Skin is its remarkable sound design. The film excels in utilizing sounds to escalate the atmosphere of intensity and suspense. Whether it's the piercing silence of isolation, unsettling noises from old house structures, or the discomforting soundtrack - the sound plays a pivotal role in shaping the atmosphere and emotional nuances of the film.

Can Go Through Skin is a starkly realistic portrayal of a woman's struggle to cope with her emotional and mental troubles. It is a character-driven narrative, with an electrifying performance from Lodeizen. The film constantly keeps its viewers on edge through the psychological tensions and confusions of its protagonist, making it an intense experience.

In conclusion, Can Go Through Skin is a compellingly disturbing yet profoundly moving film. It amplifies its emotional weight through effective use of sounds, brilliant performances, and gradual character developments. The film's thrilling narrative, coupled with its unique portrayal of psychological struggles, make it a cinematic masterpiece in its genre.