You’ll never guess what happens in Nicolas Pesce’s Piercing (2018), and I can’t tell you anything about it without ruining one or two best-kept secrets, other than to say that it starts with a man (Christopher Abbot)―a handsome man, a successful man, a first-time father with a loving wife―who decides that he needs to murder a prostitute. And that it keeps getting better (and better) from there.
Maybe I can share a couple riddles and impressions. It’s what you’d end up with if Takashi Miike had directed Lars von Trier’s Antichrist (2009). And with its identity theorems and reflection functions, it serves not just as a narrative feature but also as the solution to a mathematical problem for evaluating the truth claims of Freudian psychology. And I wanted to cheer when “Profondo Rosso (Main Theme)” blasted out of the theater’s speakers.