It Follows (2014)
Recently I was home sick for a weekend and decided to catch up on some movie suggestions. It Follows had come up multiple times recently in discussions with a friend, so one night I watched it. The next day, I watched it again. It still haunts me. Note: this is a somewhat dark reflection on the movie, and some details that might be spoilers.
It Follows is a film whose genesis was a nightmare that writer and director David Robert Mitchell had as a child, in which a shapeshifting monster followed the dreamer wherever he went. In the movie, the main character Jay learns after a sweet date and what looked like satisfying car sex that her lover has passed along to her a curse—she will be followed by a nebulous monster, invisible to everyone else but always visible to her, though its forms constantly change. The monster walks slowly, almost constantly, directly toward her at all times. If the monster gets a hold of her, it will kill her, and then start hunting the one who gave the curse to her. The only way out is to pass the curse to another through sex, and hope that they don’t get killed.
The dreamlike quality of this monster and its “rules”—which, will explained precisely in a scene that first appeared over-the-top and later makes complete sense—paradoxically immerse the viewer into the dread and anxiety suffusing mundane reality. The film trains us very quickly to constantly scan the background for people walking very slowly and deliberately toward Jay. Often we are more concerned and attentive than she is, as a few very masterful scenes suggest. We learn we cannot trust the film to communicate danger with the expected tropes of horror camera angles and music. The camera seems dispassionate, taking in all content with equanimity. That person walking could be a random person, or it could be the monster.
The transmission of the curse through sex naturally brings up connotations of sexually transmitted disease and the loss of innocence, but I think the film succeeds in not allowing its symbolism and weight be reduced to those tropes. Jay has had sex before, and she and her friends talk about innocent days of sexual experimentation, when they had no idea what they were doing until adults showed up to instill shame in them. There is a loss of innocence that happens as Jay becomes more conscious of the danger she is in and more calculating about the risks she must take.
It would be easy to demonize the man who passed the curse along to her, but the curse is in many ways like several dilemmas of adulthood: there is no way out without someone getting hurt. If she fails to pass the curse along, she will be killed, and then her ex-lover will be hunted again. If she passes the curse along, she’ll endanger her new lover, and there’s no guarantee she won’t have to deal with this problem again.
This film had me reflecting much on the experience of people with posttraumatic stress disorder: the hypervigilance; becoming alarmed at things others can’t perceive; the disturbing and intrusive images. The deep knowing that you could be hurt at any time, that there is nowhere entirely “safe” where a predator couldn’t emerge at random—It could be a stranger, or as one character says, “Sometimes I think It looks like people you love just to hurt you.”
Adults are curiously peripheral in the film, not sources of strength and support but rather inept, invisible, or themselves sources of potential danger. This could be a social commentary but it also suggests that every person is fallible and part of maturation is confronting that I must be responsible for my life and who I trust with it. Whether to succumb to the horror, to fight back, to pass it along—there is no right option, no choice to forever free one’s self of danger. I think that is the innocence lost in this movie—the belief in a world of safety and easy moral choices.
I think the film illustrates a dilemma trauma survivors in particular have to face, but truly all of us living in the United States (probably beyond) need to wrestle with at one time or another. We do not live in a world where safety is guaranteed, yet we are here and this is the world where our life occurs. How do we manage security and risk without wanting to regress into children seeking a strong adult to keep us safe?
Commentators on the movie suggest that the monster is laughable, as one could simply take a plane across the country and rest easy knowing it will take forever to walk toward you. But that’s the horror again. Eventually It will find you. And what kind of life would you build if you simply ran away each time It did? Instead of living forever isolated and on the run, Jay eventually decides to bring someone she trusts into her dilemma—a conscious partnership of mutual support. Though the film is ambiguous as to whether their fighting back is successful or not, the act of fighting back seems to have empowered her, wisened her, prepared her for an uncertain future.
