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And her friends appear as faces in Skype boxes, sometimes obscured by the various applications and windows otherwise occupying the rectangular frame of Blaire’s desktop. We see the main character, Blaire (Shelley Hennig), only through the lens of her webcam. Which is to say, its entire narrative unfolds in real time, through a single, unbroken shot (in reality, several long takes seamlessly stitched together) of a laptop screen. Unfriended takes the form of a feature-length screencast of a MacBook. This slim, nasty story proves less notable than how director Leo Gabriadze goes about telling it. Its entire narrative unfolds in real time, through a single, unbroken shot (in reality, several long takes seamlessly stitched together) of a laptop screen.
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Over the course of about 80 minutes, we learn the full extent to which Laura’s supposed friends were responsible for her public humiliation revealing their culpability is the digital phantom of the deceased, enacting her supernatural revenge via tactics that escalate from lurking to harassment to, oops, your hand is in a blender. A half-dozen preppy, nattering high-school friends log on for a group video chat on what turns out to be one year to the day since their classmate, Laura Barns, took her own life after embarrassing cell phone footage of her went viral. Plotwise, Unfriended is basically an online version of I Know What You Did Last Summer. It’s a perfect opening expression of the film’s notion of the internet as a destabilizing filter of ones and zeroes, corrupting our perspective on the world and each other. The first thing we see in Unfriended is a tweaked version of the Universal Pictures vanity card: As the glowing globe spins in space, both the image and the accompanying theme of triumphant horns glitch and degrade, scrambling this familiar intro into an unfamiliar mess of digital noise. Today, one could go further in describing it as an essential portrait of the 21st century - a thriller that captures not just how so many of us now experience daily life but the way that digital scrim has replaced the normal fabric of society, with empathy as a major casualty. Eight years ago, Unfriended silenced the groans of skeptical horror buffs (“oh great, another FeardotCom”) by turning out to be much more fiendishly clever than a logline or its moniker might suggest. Yes, really: A low-budget techno slasher named for Facebook lingo remains one of the few movies released in the wake of our mass virtual migration to muster any real perspective on it. Toward the top of that list, maybe at its summit, is Unfriended. Whatever the reason, it’s a very short list of films that have much to say about the technological advancements that changed everything.
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Or maybe it’s just that filmmakers still haven’t entirely cracked the secret to making people staring at tiny screens - the dominant activity of our age - exciting or visually interesting. So why have so few movies these past few decades reckoned with that scary truth? Perhaps doing so would be a passive acknowledgment that cinema is losing the battle for attention spans to the bottomless abyss of the web. It’s no exaggeration to say that the internet has fundamentally reshaped life, the world, and maybe even how we perceive reality.