EXIT 8

On its surface, it's a genius hook to keep audiences gripped, asking us to train our eyes for the most minute change in a poster girl's outfit, or a sole passerby's demeanour. This, combined with the POV shots that begin the film, excel in keeping the audience tensed and unnerved. For a stretch, it feels genuinely inventive, as though the film is willing to push boundaries and construct an experience that feels as interactive as the original game. It's a shame then, when director Genki Kawamura ('A Hundred Flowers') abandons this approach and settles into more conventional filmmaking and we see the man's face. With it, a sense of limitation creeps in, and the film begins to reflect the endless loop of the man's search for freedom – and not in a good way.

Even at 95 minutes, 'Exit 8' strains to stretch the concept. Having personally never played the game, it wouldn't surprise me if being able to interact with this story would increase its enjoyability rather than being a passive viewer; here, the hallways continue, the anomalies continue to pop up, but the tension plateaus. The story might be repetitive, but that does not mean a film should become a chore. Some concepts are simply not built for feature lengths, and there's a strength in knowing that limit. In an effort to add further emotional stakes, the film introduces a moral dilemma to the man's backstory, as we learn of his off-screen girlfriend's pregnancy. It's a clever, clear thematic manifestation of his predicament, as each decision he makes in the tunnels – incorrect or incorrect – echoes as large as his impending fatherhood. Yet this narrative thread never feels fully realised, even when it's aggressively tugged on in the film's third act. Caught between character study and the experience of first-person gameplay, the film cannot fully commit to either, and therefore can't be successful at either.

Despite outstaying its welcome, there's an eerie precision to 'Exit 8' that's worth appreciating. Its sound design, use of framing and space, and commitment to the horror of a liminal space are certainly enjoyable, but these alone can't quite sustain its runtime. Unfortunately, like the face of a stranger on your train, don't be surprised if you forget about it pretty quickly.