Matt Vesely’s single-location, one-hander Monolith, is a slow-burn sci-fi chiller where star Lilly Sullivan takes the reins as a strange mystery unfolds. Read ComingSoon’s review to dive deeper.
One visible actor, one location. The presence of pandemic protocol could easily envelop the production. Whether that was the case or not, Vesely and company managed to utilize the tight constraints to great effect as Monolith plays into the isolation of its journalist protagonist.
Sullivan plays the unnamed ”Interviewer’ who has recently ruined her journalistic reputation and is trying to make a comeback. She does this by creating an investigative podcast about the unexplained. Her HQ is her parent’s expansive, isolated house in the hills. All of this is used as an escape from the aftermath of her journalistic faux pas.
A lack of conviction in her subject matter is a source of frustration. She desperately tries to find the perfect angle to spin her way back into people’s good books. It’s an interesting trait that sees Sullivan skirt the moral line.
Then, she is tipped off about an intriguing story and given a number to call. The woman on the other end is hesitant at first. But soon describes an encounter with a jet-black brick that has an unnatural aura.
The Interviewer is naturally skeptical of the tale but soon finds similar stories from others. As the podcast documenting the phenomena blows up. She discovers frightening implications and possibly a personal connection to it.
Lilly Sullivan is our human anchor to the story of Monolith. The end of The Interviewer’s opening monologue sees her say ”Just Listen” and it’s valuable advice. So much of the heavy lifting is done by sound in Monolith, from Sullivan’s inquisitive tone to the captive tinny quality of each interviewee over the phone. Obviously, we’re dealing with a visual medium first here, but Vesely’s integration of podcast audio drama structure into that works well. The right choice of images while conversations are ongoing is key. The easy thing would be just to channel it all through Sullivan’s reactions. While it does have that, the shots of the technology and location feel pointed in their inclusion.
This is further amplified by deliberate gaps where only the gentle electrical thrum of a phone line or keys clacking might punctuate the silence. These silences feel uncomfortable. Understandable, but aggravating in a very intentional way. Much like the overall film, it’s not going to do much for the impatient, but it does plenty to build a sense of isolation
The Interviewer’s self-imposed exile from the outside world seems to help her focus on the more ruthless side of her journalistic capabilities. Especially during the early going, we see her switch to a very cunning and often misleading persona when the moment calls for it. Quite different from the curious investigator facade of her podcasting persona. It’s telling that we rarely get to see the true side of our protagonist. The work masks she wears are a part of her, but in her current life situation, she’s using them as shields against the fallout of her past actions. Something that is later noted as being a longstanding habit.
When things begin to take a turn for the strange, the gradual build-up is well done. You could take issue with the fact things never escalate to the point of nerve-shredding anxiety. But there’s something refreshing to the low-key approach to an increasingly seismic revelation. It’s less a payoff and more a visual air of resignation.
It’s unfortunate that The Interviewer’s manipulation of people’s trauma to ”redeem” herself isn’t given more weight. I understand that choice, at least because it’s centered on a self-obsessed character trying to find an easy way out of a life lowpoint. So why wouldn’t the film hold some of that same attitude in the telling of its story?
I suppose I’m asking for more runtime to possibly examine that. Or, indeed, the nature of internet hysteria and how it spreads. Even without it, Monolith is a very accomplished and claustrophobic chiller that lingered in my thoughts beyond the end credits.
Score 7/10
As ComingSoon’s review policy explains, a score of 7 equates to ”Good”. A successful piece of entertainment that is worth checking out, but it may not appeal to everyone.
Monolith is out on limited theatrical release and on digital on February 16, 2024, in the US.
