![]() (Later, Sophie demands to know where Rebecca found a particular photograph - one that was pinned to the wall in that very room.) This convenient box o’ evidence isn’t even hidden it’s just sitting in the study, a well-lit room that Sophie clearly uses regularly. When it comes time for Rebecca to learn Diana’s origins, the movie gets especially lazy: Mom has a box of evidence in her house, complete with psychiatrists’ tape recordings and photos, spelling everything out. Sandberg gets a lot of mileage out of this spooky trick, but it’s the only one he’s got. Turn the lights off again, she’s back, only now she’s closer. She’s a spindly, wraith-like shadow-creature who can inflict actual physical harm in the dark but disappears in the light. Sophie’s semi-estranged twentysomething daughter, Rebecca (Teresa Palmer), intervenes to protect her brother, recalling her own scary dealings with “Diana” when she was his age.ĭiana is real, by the way. Sophie (Maria Bello) is a depressed, bedraggled recluse whose troubling behavior - she talks to an invisible friend named “Diana” - has begun to take its toll on her young son, Martin (Gabriel Bateman). It’s small in scale, with only three major roles and a couple of hangers-on. This feature-length version, though, has a rushed, half-baked air to it, long enough to qualify as a feature yet somehow still short on story, character, and detail. Heck, you could even flesh it out to 10 or 15. ![]() ![]() Sandberg’s 81-minute expansion of his 3-minute short, has a fine premise for a 3-minute short. ![]()
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