‘Pretty’ Movie Review – Is It Worth Watching?

Pretty is a horror fantasy from filmmaker Metecan Duren. One of the most astonishing things about this horror feature film is that it was entirely created by Duren, who serves as director, writer, editor and composer – taking on the entire creative gamut to craft a monolithic passion project. Produced on a micro-budget, this feat alone is a major achievement. What is even more incredible is that the filmmaker is a 19-year-old medical student.

Balancing anatomy with cinematography, this ambitious young talent is only just beginning to spread his wings, demonstrating a level of audacity and vision that points to a budding auteur. Filmmaking is already a miracle business, and Duren has set the platform for a career that could easily follow in the footsteps of recent breakout successes, such as Curry Barker with Obsession.

Dialling things back a bit, Duren’s feature film debut is reminiscent of the work of Oren Peli, whose own foray into Paranormal Activity saw the director taking highly resourceful steps to make his first feature on a shoestring budget. While it’s apparent that Pretty was composed through pure passion, grit and determination, it shows great promise. Even as Duren wears his influences on his sleeve, he sets the scene for an even more impressive follow-up.

There are, of course, certain limitations when it comes to low-budget filmmaking, and while Pretty is constrained in some areas, it mostly works, successfully conveying the young director’s vision with a remarkably sure-handed approach. Visually, the film is a triumph; the cinematography captures some truly haunting, epic moments, ranging from elegant street night scenes to more garish, violent confrontations.

The plot of Pretty centres on a young woman who confronts a ghostly voice, only to realise that a long-buried secret is beginning to rise to the surface, as forces beyond her control urge her to take steps towards a reckoning. Walking a psychological tightrope, the audience is never quite sure if these occurrences are real or imagined, with the lead character caught in a state of fragile tension. Played by Melisa Kihtir, the lead’s striking look keeps the film visually enticing as we try to get a clearer picture of what’s actually happening – shifting between home invasions, chase sequences and dreamlike states. Echoing these surreal undertones, the blend of the real and the metaphysical keeps things consistently interesting as does the absence of their parents.

Assembling a cast of debutants, Duren manages to extract a reasonable level of performance. However, it’s clear that more seasoned actors would have helped elevate the production, particularly in grounding the scenes of intense inner turmoil. Some of the emotional reactions feel slightly dulled, and more thought could’ve gone into the psychological reality and true shock value of these situations. As it stands, Kihtir plays her role like a deer in the headlights, seemingly pushed along by invisible forces. This plays well into her character’s naïve disposition as she becomes enveloped in the dark shroud that follows her. She plays opposite Saran Duren as Emma, who is just as fascinating and brings a grittier edge to her performance.

In its guerrilla indie spirit, the film is somewhat reminiscent of It Follows, capturing a rather alienating slice of life in the process. Utilising open spaces and contrasting them with the claustrophobic confines of a modern home with a dark aesthetic, Duren effortlessly conjures up a world that’s atmospheric, moody and full of dread. Amplifying this visual alignment is an original soundtrack that’s deeply foreboding and keeps things on edge. While there are flashbacks that could have used a bit more elegance – and could perhaps have been better handled as voice-overs – there’s a full appreciation here for the story’s visual impact and styling.

On one hand, the film functions a bit like a slasher, with masked figures terrorising a group of teenagers. Yet, this is counterbalanced by an otherworldly dimension, which slows things down to create a sense of alienation. It’s disturbing and unsettling, keeping the viewer off-balance as the group of young women seem to be haunted by an evil presence. There’s a Donnie Darko-esque tonal quality to the film, which also carries a hint of the dread found at the heart of Hereditary and a stylistic slant not dissimilar to The Neon Demon.

Channeling today’s preoccupation with social media, Duren opts to immerse us in exchanges over platforms where text messages serve as the primary dialogue. This gives a much more intimate, voyeuristic feel to these late-night conversations, making them all the more eerie. While the change of pace is strangely refreshing, there are some scenes that feel drawn out, and pacing does become an issue – even as curious and darkly swirling as these moments are.

Playing out in three acts, the storytelling itself is also a bit scattershot and tricky to follow at times. One imagines that these sequences could have played out more effectively with a tighter script and edit, keeping things on the front foot to make the film even more compelling. While it’s a joy for a creator to have complete creative control over a project, Pretty would have benefited from some more efficient creative decision-making to keep things tight and on track.

Operating on such a limited budget, it’s easy to forgive some of the technical inconsistencies, but they are still present. Some issues with sound, lighting and continuity occasionally crop up. While they are not distracting enough to completely derail the film, these small technical niggles do sometimes undermine even the most compelling of stories.

The film is also a little displaced in terms of its setting; not anchored in a specific place, suggesting little more than a generic, present-day backdrop. Perhaps providing more cultural texture through distinct local accents or a defined location would have given more weight to the situational dynamics. Being non-descript and slightly out of time does not ruin the film, but it certainly would have benefited from more geographical and cultural texture. Then, coming in at just under two hours, the ending is rather abrupt and does not really tie up many of the loose ends – though this is admittedly quite typical of the horror genre.

Ultimately, Pretty is somewhat constrained by its resource limitations, particularly in not having enough time for extensive script development, an experienced cast, a full crew and a dedicated post-production team. Nonetheless, it is a legendary effort on the part of its 19-year-old filmmaker, which serves as an inspiration to young filmmakers and bodes incredibly well for his future.

What Metecan Duren has achieved, however, is the creation of something beautiful to behold, which is often deeply immersive. When it comes to atmospheric tension, a sombre mood and an underlying sense of dread, he succeeds on all fronts. Capturing these elements through beautiful shots, imaginative compositions and an ever-present darkness lurking just out of frame, he’s crafted a story that leaves us with many fascinating questions. While the script would have benefited from a few more connective narrative strands, tighter dialogue and brisker pacing, it’s clear that this multi-talented director is one to watch. It’s exciting to think about what he will be able to achieve with more resources at his disposal and a larger creative team to lean on.

Watch ‘Pretty’ on YouTube

The bottom line: Atmospheric