For his debut feature-length Dark Mirror, the 35-year-old director Pablo Proenza has attempted to turn his heroine's fascination with light and angles -- she is a photographer and stay-at-home mother -- into his visual aesthetic. Sunlight blinds the eye as it pours through a window, and certain images are impaired by strains of artificial light in an attempt to call attention not only to the protagonist's state of mind but also the very process of filmmaking that is going on. Proenza wants us to be aware we are watching a film.
This is sadly the most interesting thing I can say about Dark Mirror, an otherwise dull, overwrought and hopelessly conventional thriller about a photographer named Deborah (Lisa Vidal) who triggers something when she takes a photo of herself in her bathroom mirror. Opening the gateway to the past or an alternative reality or, hey, her own madness, she begins to see images of a hooded slasher who inevitably begins to accrue a small body count.
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