matt lynch’s review published on Letterboxd:
a second viewing makes Strickland's most interesting obsession more apparent: his insistence on pragmatically examining genre tropes. here it manifests with what's still my favorite element of the film, the intense focus on the analog tech. slow zooms on audio pots or tape coursing through a Nagra. but that pragmatism has the side effect of robbing this of some genuine tension; the guy having a mental breakdown trying to get reimbursed for a plane ticket is very funny, but by design it's not particularly exciting. Jones' meek protagonist's sensory unravelling just strikes me as banal, the obvious choice, and (for me anyway) it doesn't disintegrate audiovisually anywhere near abstractly or anxiously enough. i'd be very interested in seeing the original short version of this Strickland apparently made in 2005.