Trance (I) (2013)

To say that Trance is this year's Inception, is to do either films a disservice. But if I were to lean toward a preference, then Danny Boyle's latest movie has an edge for being succinct in its tale, little loopholes and while fewer characters, is no less complex, but equally stylish in treatment, and bold in its story-telling, dealing with the premise of a heist gone wrong, and hypnosis being the last resort to get into the deepest recesses of the mind for the secrets it harbours.

James McAvoy is probably in one of his best roles yet, opening the film as Simon, an art auctioneer who apparently has reasons to turn corrupt, giving the lowdown on the security measures on how to secure the most valuable art piece of the session in the event of an interruption of the process. And lo and behold, a team led by Franck (Vincent Cassel) comes in forcefully to seize that same valuable asset, only for Simon to have hidden it away both physically and psychologically into his mind, that it seemed a peek into his subconscious would be necessary to unlock the location of the stolen painting. Enter Rosario Dawson's Elizabeth, a hypnotist with skills so sublime, she can lull you into anything if your guard is not tip top.

But you know I'm just scratching the surface of the premise, because even understanding the premise will take away the fun you would experience when watching the narrative unfold. What worked here is the multiple perspectives and shifts in the narrative that Danny Boyle puts you under, being the real mastermind and hypnotist at work in lulling us the audience into lapping up just about everything being thrown at us. Who you thought was the lead in the film, gave way to some other character, and then more, putting you in a spot, yet being terribly engaging from start to finish that you'd want to have a go at the story again, being enlightened the second time round as to who the real puppet master was.

Credit has to go to writers Joe Ahearne and John Hodge, the former who was responsible for an earlier television movie of the same name in which this film was partially based upon. What I love about the film, is that everything was neatly planned, and didn't entail crafting escape clauses for itself for a less than well thought out narrative. Everything was in place from the start, and the movie magic came from astute direction and intricate editing to shift perspectives, chronology and the like, together with absolutely wonderful performances from all three main leads to pull off this psychological thriller.

Danny Boyle once again proves to be one of the most eclectic filmmakers of this generation, taking on varied genres without a bat in the eyelid, and delivering impressive results in coming up with a film's powerful imagery, with that knack of blending in a top notch soundtrack, and coaxing stellar performances from his cast. Trance becomes that fine balance of substance and style, extremely well made, and very much less confusing than Inception, but no less complex in execution.

James McAvoy retains his boyish qualities while contrasting that with darker emotions that hasn't been seen in most of the films he had starred in. Vincent Cassel is no stranger to playing morally shady characters, and his chief instigator and mastermind being the heist could have been a walk in the park role, but once again he brings an edge to the character like none other, if not for his experience. And the surprise performance of all was Rosario Dawson. She's been in the industry for sometime already, but nothing really stood out until now. Not to mention it being one of her boldest acts yet, and the sacrifice having to really bare herself on screen.

There are many layers to this film than I dare reveal, but let's just say at its core, I'm buying into its love story about the dangers of obsession, which touched upon a raw nerve in how perverted it developed into, and how it enveloped all motivations of the players involved. The twists and turns in the last half hour will leave you breathless, filled with some gory moments that's quite Cronenberg-like. A definite recommend for its all round solid approach, and it's little wonder if it finds itself in my top films of the year listing.