Four characters paths mysteriously cross at a dilapidated Bangkok hotel. A drug mule falls into an intense state of paranoia while holding a package from a local mafia boss. In the lobby, a British psychologist, suffering from the trauma of losing her son, checks in. A rising mafia boss, having plundered drugs from rival crime family, races in a car to meet the drug mule in his hotel room. Showered by a barrage of bullets, a female assassin lingers on the verge of death. Astonishingly poetic special effects rivet viewers to the screen as the characters' collective destiny unfolds.
Ironies compound ironies in The Tesseract
, a hyper-stylized, meta-narrative about the fateful links between four strangers staying in a Bangkok hotel called the Heaven. Sean (Jonathan Rhys-Meyers) is a British drug runner making a local gang impatient, Rosa is a child psychologist taping interviews with local kids about their dreams, Wit (Alexander Rendel) is a little thief who lives and works there, and a female assassin (Lene Christensen) sent to deal with Sean sits bleeding from a bullet wound in one of the Heaven's drearier rooms. Wit is the link between all three adults, running errands, ingratiating himself, breaking into rooms to find items worth fencing. Based on a novel by Alex Garland (The Beach
), The Tesseract
is directed by Oxide Pang Chun (co-director of Infernal Affairs
) and casts a feverish spell with its endless time loops, dissecting action and drama through shifting perspectives on the same scenes. --Tom Keogh