A woman (Molly) who has just experienced a traumatic incident is unnerved by a haunting knocking sound from upstairs in her new apartment building. As the noises become more desperate and increasingly sound like cries for help, she confronts her neighbours but it seems no one else can hear them. In an unsettling quest for truth, Molly soon realises that no one believes her and begins to question if she even believes herself – a realisation that is perhaps even more chilling.
Is this some extensive gaslighting or is Molly still experiencing PTSD from her previous loss? The marrying of these two concepts is here perfection. For Molly, the idea of sitting idly by will drive her mad. A slow-burn mystery with striking cinematography, Knocking will make your head spin. The use of a go-pro-style camera during a climactic confrontation puts you in the manic state of Molly’s brain. It’s a wildly effective choice. Cecilia Milocci‘s performance is truly compelling. You are right there with her on this tumultuous emotional journey. It’s absolutely award-worthy.
I first saw Knocking at Sundance 2021. The film still haunts me, as I continue to second guess the ending. To me, that ultimately makes it a success. It is genuinely unforgettable. Final Girl Berlin 2022 audiences are sure to eat up the tension that director Frida Kempff has curated in her feature-length debut. This can only mean the beginning of a long and successful genre career.
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