Time is slippery in Gazer, and not just for its protagonist. Frankie, played with taut, haunted energy by Ariella Mastroianni, suffers from a rare neurological disorder that scrambles her sense of time. She records cassette memos, peers through windows, and drifts into a job that turns dangerous fast. Shot on grainy 16mm in Jersey City, the film borrows freely—Memento’s fractured chronology, The Conversation’s paranoia, and visual nods to Lynch and Cronenberg.
It’s atmospheric, with streetlights buzzing, shadows breathing, and a soundscape that coils tightly around the action. Mastroianni’s performance is the anchor, shifting between resolve and fragility. But the film’s biggest flaw is its ambition—it sometimes gets so wrapped up in its own loops that it loses focus, and occasionally the viewer too. When it clicks, it’s hypnotic noir; when it doesn’t, it feels like déjà vu without the payoff.