Anon (2018)

Elevator Pitch: In a world where there is no personal privacy since the population is chipped so that everybody’s personal details are visible to everybody else including, for the police, their memories, Sal Frieland a detective, comes across a young woman who has no details attached to her. There are murders being carried out, but the police can only view them through the eyes of the perpetrator concealing his or her identity. The answer according to Sal is for him to carry out an act which requires concealment from his fiancee, so he engages the services of a call girl, and then contacts the anonymous young woman, who will erase the necessary memories, but what else will she do?

Content: So, as well as murders taking place, viewed through the eyes of the person carrying out the act, some sexual encounters are also viewed in the same way, with consequent female nudity. Also quite a bit of drinking and some smoking. The police get to view a variety of events including the murder of two lesbians who are down to their undies. Most of the events take place in austere modern surroundings, and semi-darkness. Towards the end as Sal gets on the case he is subject to a variety of hallucinations, sourced with the anonymous young woman he thinks.

A View: This was Netflix straight to streaming outing, hence the few reviews. It took me a bit of time to get on board with this, obviously the critics never did.  There is quite a bit of sex, making it look as if that might have been the intent of the whole script, sort of “how can we have portray sex from the first person viewpoint?”  And actually Clive Owen and Amanda Seyfried were well cast, there tendency towards woodeness suiting the script pretty well. And if you can make it through the first thirty minutes, it goes along well enough as long as you don’t try to work it all out. 

Additional Info: Pursuant to my search for interesting cars in films, there is a Facel Vega in the opening credits (We have seen one before, could be this one).