Writers take inspiration from everything, whether it’s real life, fiction, or even their personal experiences. Everything they see and learn is ammunition. However, by delving deeply into certain topics, they might find that some things are better left unwritten.
★★★★☆
Often, as critics of society, writers hold influence on how people perceive and understand culture. Literature is a gateway to education. Those who author these novels need to be well-learned in the topics they cover. Every writer’s approach is different. For Keane (John Magaro), shadowing a retired serial killer might just be the most dangerous method of research one may ever use. But to understand how Keane finds himself in this predicament, Psycho Therapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer, with its exceedingly long and telling title, begins simply with an idea. Keane’s idea, in fact, for his next book: a supposedly Neanderthal love story. Except his agent (Ward Horton) isn’t too fond of the concept, understandably so.
Instead, he urges Keane to write something more “authentic” and “ethnic”. Their entire exchange is a blatant jab at the practice of identity politics in literary spaces and the constant chasing of trends and palatable content. There are certainly interesting discussions to have about the importance of genuine representation versus pandering. But the film swiftly ploughs through it in sharp tones of sarcasm and satire. The picture is full of throwaway comments that criticise the state of society without further analysis. But these sidesteps are forgivable. Psycho Therapy isn’t upholding a mirror or commenting on the misgivings of the world. Rather, it’s here to tell the bonkers story of a man, his wife and a retired serial killer—and it does so in a thoroughly entertaining way.
Psycho Therapy’s strongest feat is the absurdity of the crossed wires between the different characters. On one hand, there’s Keane and his quest to get over writer’s block and learn from serial killer Kollmick (Steve Buscemi). It’s all a bit hesitant and uncertain, but there’s an air of arrogance surrounding Keane in pushing forward nonetheless. Then, on the other hand, is Suzie (Britt Lower), Keane’s wife. Her frustration with Keane, his inability to make decisions for himself, and total self-absorption leave her with no choice but divorce, excluding other more morbid resolutions. These two issues converge in a series of multiple misunderstandings, which lead to Kollmick becoming their marriage counsellor with oddly successful results. The whole scenario is rife with comedic opportunities, which the piece takes full advantage of.
Magaro strikes a perfect balance in Keane’s meek and oblivious arrogance. It’s a performance that complements the other two supporting acts, bridging the gap between them. Buscemi’s facial expressions and deadpan, matter-of-fact line delivery are subtle but effective. He’s funny in an uncomfortable way, creepy with a touch of charm. But perhaps the most alluring presence of all is Lower. Initially cold and seemingly calculated, Suzie’s unwitting ignorance towards Keane and Kollmick’s antics underlines a softer side to her that’s both endearing and frustrating. Her suspicions undercut the reignition of her affections for Keane. This is something that’s only reconciled by a truth she doesn’t reveal until the last quarter of the feature. Getting to know Suzie is a rollercoaster of emotions for the audience. She is by far the most enjoyable aspect of Psycho Therapy.
Visuals and music set the tone well in Tolga Karaçelik’s project. An emphasis on symmetry creates an uncanny and pristine look to the film. This heightens the nervous energy when the tiniest thing is out of place. Using a high-saturation and high-contrast colour filter with extreme vibrance adds an intensity to the picture, and evokes a slightly vintage feel. It’s visually interesting and eye-catching, sustaining the viewer’s gaze even during the most tedious of events. Then there’s the score, which is an ode to Keane’s initial idea of exploring Neanderthal romance. The animalistic sense to the tracks, reminiscent of Hannah Peel’s work in Bring Them Down (2024), is perfectly fitting for the thrill and anxiety of the modern-day events taking place.
The Verdict
Psycho Therapy: The Shallow Tale of a Writer Who Decided to Write About a Serial Killer is an interesting premise with mild execution. Keane’s writing takes a back seat as the film progresses. This is a shame, because it’s his struggle against writer’s block and the nonsensical demands of his agent that will initially endear the audience to him. Beyond that, there’s nothing much to the character. That said, shifting Suzie’s arc to the forefront and the marriage-counsellor-moonlighting-as-a-serial-killing-mentor schtick does provide more humorous, chaotic content, further uplifted by the excellent performance by the cast and the striking combination of visual and audio. Although not faultless, Karaçelik produces a deliciously twisted comedic experience masquerading as a thriller.
Words by Mae Trumata
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