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Thursday, December 8, 2016

By Betsy Sharkey, Los Angeles Times

To truly get “Under the Skin,” it’s helpful to come in with no preconceptions, no expectations, and just give yourself over to the primal ooze of the experience filmmaker Jonathan Glazer has created and Scarlett Johansson has made brilliantly, unnervingly real.

Watching this film feels like a genesis moment — of sci-fi fable, of filmmaking, of performance — with all the ambiguity and excitement that implies. It’s as if director and star have gone into some alien space to discover what embodies a person, exposing the interior dynamic of psyche and soul and its relationship to the exterior.

If that all sounds very abstract, not to mention bewildering, it is. Yet for all the esoteric notions floated, “Under the Skin” also affords concrete ways to see the world fresh through new eyes.

The film begins with the construction of that eye, a scene that leaves images and questions hanging in the air, creating a state of limbo that infuses “Under the Skin.” This moment comes like a quiet demand from the director as well: either accept or resist the abstraction. If resistance is your choice, walk out and spare yourself undue angst. If you accept, prepare for a sensory-saturated experience filled with ambient sounds and off-center reflections of life as we know it. The scenes, sounds and a score by Mica Levi linger and unsettle long after the lights have gone up.

Technically based on Michel Faber’s novel of the same name, in reality the movie sheds almost everything but the central conceit of an alien hidden inside a human form on the hunt for men and the Scottish setting. Good choices both. Where the novelist conjures up a vegan nightmare that involves farming, fattening and slaughtering to feed a starving alien race, Glazer, who wrote the script with Walter Campbell, pares it closer to the notion of what constitutes humanness itself.

Johansson strips everything away as well, including her clothing. But it is the emotional baring she does that is so riveting as her character goes from robotic to something closer to real. The actress is already building an eclectic body of work from the superhero of “Avengers” to the supercomputer voice of “Her.” In front of Glazer’s camera she is staggeringly, fearlessly uncomfortable in her own skin, the physicality of making her body seem like a foreign form is extraordinary.

The first half of the movie is spent on the logistics of the hunt and the disposition of the prey. None of the characters have names; all but Johansson are real people whom the actress spotted while driving the streets of Glasgow and seduced into her van. Director of photography Daniel Landin buried micro-cameras throughout the van’s front cab so that neither the actress nor the strangers can play to the lens.

It creates disassociation rather than connection in ways that are unerring but affecting. The back of the van hid Glazer, Landin and a skeletal crew. Another van followed so that releases from the unsuspecting could be gotten, makeup reapplied, hair properly mussed.