Censor is about a British film censorship, Enid, who takes great pride in protecting audiences from the dangers of bloody outbursts of violence, until a film that reflects their past trauma leads them on a path of terrifying discovery.
For the audience, the discovery can be the realization that Censor itself should be censored, not because of violence or disturbing images, but because of the hollow feeling it leaves you.
In her directorial debut, Prano Bailey-Bond shows promising results. Bailey-Bond revolves around a hysterical time in the 1980s when video bastards were blamed for corruption in society – it’s a period of time that precedes me, but not the fears of violent video games of the 1990s dissimilar – and opens up an environment, environment and premise that is rich in fertile details. Colored with a gorgeous throwback aesthetic and haunted by an ambient score that elevates the material, there’s a lot to like Censorat least on a superficial level.
And Niamh Algar, perhaps best known, though not recognizable as a female android in Raised by wolvesdelivers a dedicated performance as Enid. While the story itself doesn’t quite work out, Algar elevates the material.
Unfortunately, the film’s strengths don’t outweigh it CensorDefects. Despite Bailey-Bond’s talented eye Censorfeels a lot longer after 90 minutes. Enid’s bow is tedious and not particularly fascinating. The climax is an overwhelming payoff for the brief, scattered outbursts of violence. Finally, Censor offers a hot experience; It’s pretty to look at, but there is little to really enjoy.
This film was reviewed as part of coverage of the 2021 Sundance Film Festival.
Rating by Erik Samdahl, unless otherwise stated.