Jonathan Glazer’s first film since 2004’s Birth, Under the Skin has discernible reference points (2001: A Space Odyssey, The Man Who Fell to Earth, Chris Cunningham’s Rubber Johnny), and yet, this peculiar film is the most original feature at Toronto, and possibly of this year. It operates within a sublime netherworld immediately recognizable as being sprung from Glazer’s imagination, where, previously, the soul of a man was reborn in a 10-year-old boy and caused woman to nearly lose her mind, and before that, where a frightening, oft-hilarious psychopath wreaked havoc on the sanity of a man suffering an existential crisis over his former life as a criminal.
Now, in the gray, desolate coldness of Scotland, an extraterrestrial played by Scarlett Johansson seduces young Scottish men into a black hole where they meet a most unusual death. Given her pouty, coral-pink lips, chic black bob, alluring friendliness, and voluptuous breasts, the alien siren has little difficulty luring men back to “her place,” a decrepit building that, once inside, resembles the blanketing black nothingness of a virtual training game from The Matrix. Here, she walks into the darkness while slowly disrobing, the men following suit, unaware that the closer they reach her, the deeper they step into a never-ending inky ocean that swallows them whole.