The connection between artist and self is explored in the new film Noxturne. Written, and directed by and staring Kristina Klebe, the film follows celebrated concert pianist Mia Nox (Klebe) after an accident that leaves her partially paralyzed. Unable to perform, Mia soon loses a grip on her identity and reality itself, slipping into paranoid delusions and bizarre visions. The film is psychological horror in the purest sense, diving into the terrors ability and the loss of artistic worth. Yet, despite knowing what it is and what it wants to explore, Noxturne doesn’t land the surreal, dreamlike moments. The result in an impressive but very in mixed bag of artistic risks and muddled metaphor.
The film opens as Mia is enjoying a passionate, if problematic relationship with hunky concert guitarist Roman (Byron ). He’s the bad boy of the orchestra and Mia is the star. She wants to encourage him as an artist and performer but has a hard time dealing with his alcoholism. A tale as old as time. While riding her beloved black horse, Zeus, she is thrown and suffers a spinal injury that paralyzes her from the waist down and only mild chances at recovery.
Sequestered in her New York townhome, she is at the mercy of her boyfriend’s kindness and occasional sobriety. With nothing to do but wheel around her non-ADA complaint home she begins to spiral. Roman starts sleeping in the other room and answering random phone calls. Mia suspects he is cheating with fellow orchestra Maya (Teresa Avia Lim), but the real issue is that Roman is suddenly becoming recognized as a star performer. His star is on the rise while Mia’s is fading. This forces Mia into the dark corners of her mind into an existential crisis. Mental, physical, and emotional scars ravage her and she loses a grip on reality.
There are things about Noxturne that really work. The dynamic between Klebe and costar Clohessy is palpable. Their conflict is heightened by both fine performances and the honest writing. When Roman starts to outshine Mia, we feel it. The paranoia, the anger, we feel it all. This is where the movie shines.
For every honest moment, however, there is a dreamlike sequence that doesn’t echo reality as effectively. These moments are layered in strange imagery and cutaways that confuse rather than enforce any perceived symbolism. I am still baffled at the odd placement of creeping flowers or fecund fingers. Surrealism is hard to get right and this is proof.
Kristina Klebe really swings for the fences with Noxturne. She is all over this movie and she gives it everything she has. I will give her full credit for that. She is also one of the more interesting actors in recent years with a vast filmography that is worth exploring. There is some noteworthy work here that is worth considering, especially for fans of independent filmmaking. All said though, Noxturne is a passionate, perplexing, psychological horror pic that can’t seem to hit the right chords.
