I'm Thinking of Ending Things

Kaufman's psychological thriller plays out like a connect the dots puzzle without the numbers; the possibility of a succinct image is there, yet the more likely option is connecting points in a seemingly random fashion, ending in a massive scribble.

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The Kuleshov Effect is an editing effect that plants an idea or an emotion in the audience through the sequence of certain shots: a man looks blankly into the camera followed by an elevated look at a bowl of soup and all of a sudden, we believe the man looked hungry. That same shot of the man can be positioned next to many other shots and us, as the audience, will force our emotions onto the actor allowing us to believe he is feeling what we are. Kaufman opens up with this exact experiment in attempt to foreshadow the films style and set a level of expectation yet, the artsy intro leads into a convoluted narrative that most audiences won't be able to tack any meaning onto.

Throughout the 2 hour and 14 minute runtime, every scene, every interaction, serves as a new puzzle piece waiting to be part of a bigger picture. The jigsaw is being pieced together through the eyes of Lucy (Jessie Buckley), a young woman who is on her way to her boyfriend Jake's (Jesse Plemons) family home to meet his parents, the whole journey narrated by Lucy's inner monologue as she recalls her relationship and 'thinks of ending things'. Buckley brings an authenticity to the protagonist as we see her jump from one emotion to another, constantly keeping the audience on the hook for that tantalising 'oh shit' moment that seems right round the corner.

Yet, it never comes. The confusing and exciting opening is fortified by the meeting with the mother (Toni Collette) and father (David Thewlis) only to tumble out of the sky like Icarus; flying too close to a random and nonsensical narrative instead of the Sun. Hints to the truth cross the screen but never truly land as Kaufman uses subtle pieces of information in an attempt to convey a reality that is not so real. All the way to the end, Lucy changes outfits and names, her character adjusts as her and Jake's romantic meeting shifts from one telling to another, coming off like an indecisive 12-year old writing an essay instead of a meaningful change in tone.

Jessie Buckley, left, alongside Hadley Robinson and Gus Birney in I'm thinking of Ending Things.

For those who do understand the film after curtain call (which will be few), there are still many loose ends that can be explained away in only the most reaching of fashions. The lack of continuity within the world creates a disappointing after-taste in place of a melancholic enlightenment that, in the beginning, was dangled like a carrot on a stick. Very quickly, the whole affair becomes forgetful, a theme which seems to echo throughout the 4:3 frame only to realise the source of the sound was a clichéd play on words instead of the clever one it intended to be.

Although the plot leaves a lot to be desired, the cast try their best to fill its void and, for the most part, succeed in creating a mysterious air amongst them. Buckley is our constant companion and drives the film down its maze of madness which is unfortunately downplayed by the characters limited grasp of reality, causing frustration as the one person who should be confused with her surroundings seemingly doesn't care. Both Collette and Thewlis are entrancing from the moment they enter before they leave, never to come back; another hole that slows the film down to a trickle.

There will be those who are engrossed by Kaufman's labyrinth as the cinematography shines through the haze alongside a light yet creepy score that brings memories of Ari Aster's Midsommar back; but many more will be anxious to get to the credits in the hopes that an explanation is lying in wait (that is, if they make it there). Unlike some other adaptations, I'm Thinking of Ending Things feels like it doesn't belong on the screen, like it is but a mere shadow of the original which makes one wonder: was it even worth it in the first place?