CAM> The film opens with Alice jumping into frame and apologizing for being late because she had to pee. It is evident from her verbal response to the television screen in front of her that this is a trademark statement from her, which immediately establishes the kind of rapport and an historical relationship Alice has with the clients in her group. There is also an element of theatrical performativity on display: despite the fact that the audience is unaware of exactly who this woman is, Alice is clearly playing into their wants and desires.
This set-up immediately introduces the concept of a double – an identical-looking recreation of our protagonist who “exists” exclusively in the virtual realm under a different name. The distinction between the cam world and the real world is visually represented when Alice interacts with the “real” world of her mother’s hair salon, or shops for supplies at the dollar store: she wears less make-up, the lighting is dull and her clothes are comfortable, even drabby (not theatrical). On screen Lola is vibrant, dynamic and flirtatious; in real life, Alice is still driven, but her confidence is threatened by the cam girls who occupy higher ranks on the leaderboard. This insecurity even has its own visual tic: in real life, Alice frequently bites her nails.
The soundtrack is filled with pings and other electronic exclamations that reinforce the level of engagement in the virtual room. These sound effects create a dynamic energy, a Pavlovian response that mirrors the way society is increasingly addicted to social media and glued to our screens.
Alice eventually turns to the sex work at hand, excavating three dildo options from a tickle trunk for the room to “vote” on. This is where Massei expertly introduces in the film’s psychology thriller component: Alice is harassed and threatened by an anonymous client – Visitor 003128 – who encourages, then demands that she cut herself with a knife. In addition to reinforcing the potential for online harassment, particularly for women, this swift change in tone foreshadows a narrative development later in the film when a celebratory milestone is cut short by an unfortunate turn of events. CAM suggests that these publicly accessible online forums offer potential for gainful employment and empowering independence, but they are also subject to hacks, identity theft and dangerous trolling. Consider the speed at which the comments in the chat turn from talk of dildos to egging “Lola” to harm herself in front of hundreds of viewers.
SPLIT>
The film opens with a birthday party for Claire (Haley Lu Richardson). Her classmate Casey (Anya Taylor-Joy) was invited out of pity, as Claire tells her father (Neal Huff) that Casey frequently gets into trouble with teachers and gets sent to detention. Casey calls for a ride home but is told the car broke down. She’s about to take the bus, but Claire’s dad insists that she go home with them.
The girls leave along with another friend, Marcia (Jessica Sula). Claire’s dad is approached by an unseen person. Moments later, the person, a man named Kevin (James McAvoy), gets into the car. Claire thinks he just got in the wrong car by mistake, but Kevin puts on a face mask and sprays the girls with some kind of toxin that knocks them out. Casey slowly attempts to open the door to get out, but Kevin gets her too.
SAW> The movie begins following a police pursuit of criminal Edgar Munson. Edgar, in an obvious panic as he frantically waves a triggering mechanism in his hand, begins to yell at the cops pursuing him about the beginning of another ‘game’, and how he must choose people to die, or otherwise he would be killed. Despite the police demanding he set the triggering mechanism in his hand down, Edgar pulls the trigger anyways, resulting in the police beginning to shoot at the triggering mechanism. Having been ordered by Halloran to not shoot at Edgar, but at the mechanism in his hand, the detectives are angry to find Edgar had been shot in the chest.
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