Violence and gore aren’t the focus, yet Turi never shies away from the uglier moments, including leaving a few nasty corpses behind to remind Lisa of her predicament. Meander isn’t as mean of a film as the Saw franchise, but Lisa takes on her fair share of pain.
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At every turn, Lisa faces elemental traps involving fire, water, blades and even acid, plus a few other surprises I won’t spoil here. I can’t say for sure if Turi was inspired by Saw or not, but the scenario which Lisa finds herself in certainly feels like Jigsaw decided to create a Greek mythology inspired labyrinth with a scientific bent. Meander puts the squeeze on your nerves, again and again and again. To say that the fear factor of Lisa’s situation is intense would be an understatement.
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If you’re claustrophobic in any way, this movie will crank your anxiety up to eleven and keep it there. Meander might as well be renamed Crawl 2, because Lisa is forced to spend most of the film on her stomach, slowly making her way towards whatever end her captor(s) have in mind for her. The tunnel-more like a vent-which makes up around eighty percent of the set in Meander is like a cruel character all its own. Put me in a closet for longer than a minute and I’ll start to get uncomfortable, so if I found myself in Lisa’s situation, I may just curl up and die, because hell no. Meander has been compared to the likes of Saw and Cube, and it certainly has shades of each, but I’d liken it more to a claustrophobics worst nightmare brought to terrifying reality. Meander is an intimate experience, putting us right there with Lisa as she claws and scrapes her way back to life.Īnd when I say claw and scrape, I mean claw and scrape. Good thing too, because this is an up close and deeply personal movie that never leaves Lisa and is carried entirely by Weiss, who makes it look easy, delivering an inspirational performance that is so moving it’s guaranteed to make you tear up with tears of devastation and hope. Turi throws Lisa and the audience into the claustrophobic nightmare that is Meander almost immediately, but not before giving us a clear idea of who Lisa is with just a few words of dialogue. The world is mean, and people can be even meaner. It’s a central theme of Meander, as the film opens on a radio spouting ugly news story after ugly news story, coupled with a melancholy tune.
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Lisa makes clear she doesn’t want to die, divulging as much to Adam, but she also doesn’t know how to go on in a world cruel enough to have taken her daughter away. When Adam comes along, the first words out of her mouth are, “I’m lost”. We first meet Lisa, lying in the middle of the road and staring up at the sky. It’s the simple nature of Meander that makes the film so incredibly effective.
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In order to escape, Lisa has no choice but to move forward, working her way through a labyrinthine maze full of deadly traps and other horrific surprises before her time runs out. After catching a ride with Adam ( Peter Franzen), Lisa’s day takes a turn for the worse, and she finds herself in a strange, narrow tunnel, with a glowing timer attached to her wrist. The film follows Lisa ( Gaia Weiss), a tormented mother dealing with the death of her child and struggling to go on. Just as the concept of life and death, the premise of Meander is simple. The sophomore feature from writer/director Mathieu Turi, Meander is the struggle to survive incarnate. With every moment that we live, life attacks and constrains us. And the fight to take that next breath is never easy. …Every day that we’re alive, every second, every breath of air, is a miracle.
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