SURTALCHILGAAN DEER DARAHAD ARILJ KINO GARNA.
The anonymous, shape-moving awfulness that stalks the fair, 19-year-old Jay (Maika Monroe) in David Robert Mitchell’s cool, controlled blood and guts movie, “It Follows,” may be depicted as the very incarnation of suspicion. The danger, which no one but she can see, takes any number of structures, from an exposed man remaining on the top of a house to an unsmiling old woman heading intentionally toward her. When it shows up, it is generally initially witnessed from a separation, strolling gradually toward her like a bland zombie. Despite the fact that Jay over and again escapes, she can never shake the feeling that it is out there some place and knows her exact area.
The second element film by Mr. Mitchell, the chief of the 2011 religion film “The Myth of the American Sleepover,” “It Follows” is set amid fall in a Detroit suburb. The place is depopulated to the point that the unfilled avenues and obscured houses bring out a phantom town emptied in a crisis. With the exception of a couple scattered individuals, Jay and her young companions are the main staying neighborhood occupants. There are not a single guardians to be seen.
It takes a while for Jay to persuade her companions that the risk isn’t only a fantasy of her creative energy. In any case, as the foreboding signs aggregate, the gathering, which incorporates Kelly (Lili Sepe), Yara (Olivia Luccardi), Paul (Keir Gilchrist), and Greg (Daniel Zovatto), remains by her. Not at all like the adrenaline junkies and ladies of smooth Hollywood repulsiveness thrillers, these are regular young people. The timid, thoughtful Paul, who really likes Jay as far back as they shared a kiss numerous years prior, is the most significant.
“It Follows” opens almost a year subsequent to winning the Next Wave grant at the 2014 Cannes Film Festival. Its praise gets from its skillful control of temperament by its cinematographer, Michael Gioulakis. The dangerous hazard, which appears to rise up out of your fringe vision, is at first difficult to observe, yet as it moves nearer, never stimulating its progression, you sense its terrible goal.
As opposed to breaking new ground, “It Follows” reuses well known young frightfulness tropes — a young lady alone in a house, detestable strengths striking against an entryway — yet its state of mind is marvelous. Rarely do you feel controlled by exploitative recipes. The brutality, when it comes, is sudden, and the camera doesn’t wait over the gut.
Jay’s inconveniences start after she lays down with her new beau, Hugh (Jake Weary), who, after their lovemaking in his auto, binds her to a seat under an extension, and clarifies her pickle. From him, she has gotten an extraordinary variant of a venereal malady. Having intercourse with another person is the main cure, if cure is the correct word.
The clarifications for nearly everything that happens are deliberately mysterious and some of the time totally beguiling. In the most expand set piece, Jay jumps into an indoor swimming pool, which her companions circle with electrical apparatuses. Be that as it may, why? For insurance?
“It Follows” submits to a rule that few blood and gore flicks have the valor to grasp: The obscure is the obscure. Pieces of information to the source and thought processes of this hazard are dropped, however they don’t make any sense. Like the underhandedness in a David Lynch blood and guts movie, it is out there in the night, holding up to get you.