Don't Look Away (2023)

After a mannequin attacks a trucker and a group of hijackers, Frankie (Kelly Bastard), a woman that just happened to cross paths with the murderer, finds that her life will be forever altered. Don’t Look Away follows Frankie and her friends as they try to escape the mannequin, and the deeper they dive into its lure, the more devastating its presence will become.

At the center of Don’t Look Away is a really silly concept, one that effectively deflates some of the potential drama throughout the course of the film. Everything is brought to life beautifully, and I think, considering the fact that this is about a killer mannequin, that Director Micheal Bafaro does a really good job of creating drama and employing some level of fear throughout. If this concept is going to be even a little effective, it’s important that Bafaro develop some sense of intensity, that the characters in the film are actually in danger–and that level of intensity is developed early and often. Don’t Look Away is blood soaked, and not a second passes in which death doesn’t loom. Death is always whispering in the ear of the viewer, and we are constantly reminded that the often dark set possesses dark implications.

The set design plays a major role in being able to develop fear, and constantly reminds viewers that death lurks just around the corner at any given moment. Don’t Look Away has a ton of production value. Whether it’s in the dialogue, the cinematography, or something else entirely, the film does a great job of conveying emotion and reaching viewers. The thing with the greatest value, however, is that aforementioned set design. Viewers are pulled onto a dark set, one that helps to develop the dark tone of the film, and viewers feel enveloped in Don’t Look Away as a result.

Again, Don’t Look Away follows a mannequin that doesn’t have the ability to move, but almost magically transports from place to place. The editing is such an important part of making this film successful, and Editors Bafaro and Michael Mitton piece together this film in a way that makes this inanimate object come to life in an effective way. Camera angles are important in order to make sure that the mannequin can move around without being seen, but in order for those multiple camera angles to come together in a way that drives the film forward, Mitton and Bafaro have to be perfect. They deliver every step of the way, as everything works in this regard, and a silly concept that could have quickly been lost on viewers comes to life with great vigor.

Don’t Look Away runs the risk of turning viewers off in the early going–because the concept is kind of ridiculous. However, Bafaro brings this film to life in a way that resonates with viewers. From the cinematography to the set design, Don’t Look Away does a fantastic job of appealing to viewers and developing thrills and horror. Emotion transcends the entirety of the film, and this horror film is ultimately effective in just about every way.

Directed by Micheal Bafaro.

Written by Micheal Bafaro & Michael Mitton.

Starring Kelly Bastard, Michael Mitton, Colm Hill, Rene Lai, Abu Dukuly, etc.

⭐⭐⭐⭐⭐⭐⭐⭐/10