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Movie Review

Searching makes smart use of technology for modern mystery

Alex Bentley
Aug 30, 2018 | 2:21 pm
Searching makes smart use of technology for modern mystery
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At first glance, the filmmaking technique of Searching seems to be an unnecessarily distancing one. Literally every second of the film is viewed as if looking at a computer screen, so that none of the actors ever appear to be acting for the camera. It’s the same technique utilized by the Unfriended horror movie series, which is produced by the same company, Bazelevs Production.

This time, instead of trying to scare the audience, they’ve turned to a mystery, with arguably much better results. John Cho plays David Kim, who, along with his daughter, Margot (Michelle La), is struggling to get by after the untimely death of his wife, Pamela (Sara Sohn). The struggle gets even more difficult when Margot goes missing after a late-night study group.

Desperate to find his daughter, David tries to track her movements using the best resources available — her computer and the Internet. With the help of the detective assigned to the case, Rosemary Vick (Debra Messing), he doggedly pursues every clue he can find, often coming up with answers to questions he didn’t know he should have.

Perhaps it’s the ubiquitousness of being on a computer or a smartphone every day, but after a settling-in period, the film seems to give the audience a perceived sense of control. Writer/director Aneesh Chaganty, along with co-writer Sev Ohanian, do an amazing job of making the act of clicking around and typing on a computer seem as compelling as any traditional narrative could be.

They’re helped by a variety of video options available, most notably Facetime. Although slightly unbelievable — does anyone actually use Facetime on a computer? — its usage allows the filmmakers to give the characters just enough, well, face time so that the story retains the requisite emotion.

The believability factor is upped even more by the film, with one notable exception, using real websites and devices instead of fake ones like many other movies do. It’s much easier to put yourself in the shoes of the characters when they’re using Google or scrolling through Facebook and Instagram on their Macbook or iPhone.

Best of all, though, the filmmakers don’t let the gimmick of the film get in the way of telling a good story. The twists and turns it takes throughout the course of its 102-minute running time are as surprising and effective as any conventional film, and perhaps even more so given the setting.

Much has been made about the all-Asian cast of Crazy Rich Asians, but there’s something even more notable about having an Asian family at the center of a movie like this. Their ethnicity is a minor but still important element of the film, and thanks to the performances of Cho, La, and Sohn, the situations they experience are as close to universal as you can get.

Though it might not age well given the speed that the world changes, Searching is an of-the-moment film, one that makes great use of modern-day technology to tell an enthralling story.

John Cho in Searching.

John Cho in Searching
Photo by Sebastian Baron
John Cho in Searching.
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Movie Review

Nordic film Fjord challenges cultural and linguistic biases

Alex Bentley
Oct 23, 2026 | 11:20 am
Sebastian Stan in Fjord
Photo courtesy of Neon
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In modern society, where fear of “the other” has made many people into insular creatures, it has become easy to get locked into one point of view. The new film Fjord will be a challenging one for many viewers, as it puts forth a situation that confronts narrow-minded thinking and forces even those who think they’re open-minded to re-evaluate their own biases.

Mihai (Sebastian Stan) and Lisbet (Renate Reinsve) are a married couple who have just moved back to Lisbet’s home country of Norway. They have five children, all of whom were born in Romania, Mihai’s home country. The family, which is part of an unspecified Evangelical Christian sect, runs into issues almost right away when their oldest daughter, Elia (Vanessa Ceban), shows up to school with bruises on her body.

A well-intentioned but perhaps overzealous Child Protective Services system gets put into motion, resulting in the children being removed from the home while Mihai and Lisbet are being investigated. The parents, while acknowledging some minor physical punishment, deny doing anything that would cause bruising, and the possible failings of the system mostly get ignored despite a lack of hard evidence.

Written and directed by Cristian Mungiu, the film is an infuriating watch due to its depiction of a system that seems to be oblivious to its own faults. But it’s also illuminating, as the cultural and linguistic divide that exists between the characters in the film could just as easily be applied to those viewing it. Misunderstandings arise as people switch between Norwegian, English, and Romanian, and interpretations of different words or phrases play a crucial role in how people and actions are perceived.

But the film is about much more than just language mix-ups. Mungiu is purposefully vague about Mihai and Lisbet’s religion, but it’s clear that it leans conservative. This puts them at odds with a liberal society in Norway, and more than one character voices their disapproval of the family’s beliefs. The film is framed in such a way, though, that it’s those who are seemingly most progressive who can’t get over their own prejudices, with Mihai and Lisbet rarely being able to object to how they’re being treated.

The cold and forbidding landscape adds to the drama of the film, especially when Mungiu includes side stories from Mihai and Lisbet’s neighbors about, for example, a rebellious neighbor daughter or their ailing father. While those elements don’t impact the plot much, they add complexity to the film as a whole and demonstrate that some characters are more than who they seem to be on the surface.

Stan, who’s had notable roles in recent years in A Different Man and The Apprentice, puts in another solid performance that is less showy. With a bald head and stoic-but-firm demeanor, he brings depth to a potentially unlikable character. Reinsve, coming off the success of Backrooms, is the emotional center of the film and demonstrates chemistry with Stan after co-starring in A Different Man. The supporting cast is all solid, especially the actors portraying lawyers, who bring to life a system that seems much different from that in the U.S.

Fjord does not play out like a typical American film would if it were depicting a similar situation, and by holding back where western storytellers wouldn’t, it allows viewers to make up their own minds on who is right or wrong. Many things go unspoken in the film, and the debate on what should happen with Mihai, Lisbet, and their family continues even after the film ends.

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Fjord is now playing in select theaters.

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