Written and directed by Sam Fox, co-written by Lara Repko, who stars in the film as Phoebe, a pious young woman questioning her faith, who matches with a charming couple on a flirty dating app and discovers that her curiosity has lured her into a threesome from hell. Also starring: Ethan Daniel Corbett, Timothy Homme, Ashley Smith and Madonna Young-Magee.
Right from the get-go, Sam Fox, Lara Repko, cinematographer Jack McDonald and editor Greg Jocoy are all working together to set a satisfying atmosphere of awkwardness and oddity, swathed in the sinister. It creates that type of environment where you immediately know something is off, and so does Phoebe, but politeness and a desire to be adventurous keeps her hanging around. It’s purposefully not subtle and yet isn’t in your face about its eccentricities, it’s strangely cordial which holds an interesting charm.
Part of that is how Fox sets up Open Wide visually and tonally, which is to basically span decades of American culture all the way from the 1930s to the 1980s, but with a particular emphasis on that homemaker sweet spot between the 50s and 70s. It builds this unique blend which feels somewhere between The Stepford Wives, The Guest and a middle class version of The Texas Chainsaw Massacre, with a touch of classic sci-fi curiosity and maybe a little Ari Aster in there too. Fox also builds this hugely theatrical note to it, it’s very performative which cleverly morphs into a disturbing edge. It captures that type of utter confidence that the characters have in their dark proclivities which is nicely creepy.
The quality of the aesthetic boosts that atmosphere really well because it holds a fascinating weight to it. The colouring and textures imply something more dramatic and sincere, while thematically and tonally, it simply has a good time and gets a little wild. It makes for a great contrast that elevates the story. It feels like Fox has taken her usual penchant for the bizarre but added a refined quality to the visual which demonstrates a great awareness of the genre and a huge consideration for how every moving piece of the short works together.
Especially as there are a lot of smaller touches which push the tone even further. The score (by Sami Jano) in particular makes some smart moves, adding an unusual and bold touch to the scenes which is incredibly satisfying. There’s also the addition of, when Grandma enters the picture, she’s wearing a Nickelback tee, and it doesn’t feel like the usual dig at the band, it’s simply a perfect, funny fit.
Then there’s the performances which are the cherry on top. Starting with the character who makes a very interesting first impression, Ethan Daniel Corbett’s Ron. He swings into the frame with such a classically off-putting over-confidence that it’s somehow ironically charming. He’s owning his overt vanity, and it works. Ashley Smith on the other hand doesn’t reveal herself too quickly, it’s captivating to watch when the pin will drop for what she’s hiding, and she delivers that progression so well. It’s dark and almost femme-fatale-esque. Repko rounds out this threesome with a fantastic balance of Phoebe trying to be sensuous and adventurous but also letting viewers sense her apprehension and inexperience. She would make for a strong final girl.
Open Wide demonstrates how Sam Fox continues to grow as a filmmaker, with a unique style, a wonderful grasp on the bizarre and weird, creating yet another original, fun and entertaining story. It’s simple yet complicated, there’s plenty of interesting personalities at work, there’s a great variety to the tone and it has an edge of theatre which nicely adds to the atmosphere. The cast are terrific, it’s stunningly shot and it’s an unusual and genuinely good time.
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