Girls in a prison-like boarding school embark on a desperate search to uncover the awful truth behind their captivity.
Directed by Danishka Esterhazy, Level 16 is supposedly described as a science fiction thriller. Realistically though, the pacing makes this more of a mystery drama; like a slow-burn combination of Get Out, the Island, and The Handmaid's Tale.
The film follows a group of girls, raised from a young age to be clean and obedient, with the promise of a forever home once they reach Level 16 (the implication being that every year they move up a level, making them 16 years old). It doesn't take long to realise that there is more to the story that isn't being told; things just don't add up.
There is something untoward about the scenario that keeps the audience on edge; peculiar chores and routines, the complete isolation from the outside world, a lack of academic teaching, and the whole indoctrination of vices and virtues. We know there is more, but the isolation prevents the audience from being able to determine the extent until our protagonists discover it themselves. There are definitely actions that allude to the real story, but the film also has several red herrings to keep you off the scent.
From a visual standpoint, the film has a muted blue-grey colour palette, that is so dreary and dull, that it feels like another element that is specifically chosen to encourage passivity amongst the girls. Adding to the isolation is a complete lack of natural light within the concrete walls, which adds an eeriness to the environment. The style of camera shots with a preference of tight, close-up shots really restrict the visible environment and give a very claustrophobic feel. However, the muted colour grading does make the film far less pleasing to the eyes, and as the film progresses, scenes do begin to merge together with little to differentiate them.
Our protagonists do a great job. While their reactions to events ultimately don't make sense once the reveal is made, their performances are still the most enticing thing about the film. Katie Douglas portrays Vivien, the headstrong girl, while Celina Martin portrays Sophia, her farsighted colleague, and as a duo, their differing personalities work well to give a reasonably realistic interpretation of how events could unfold.
The premise is intriguing but underbaked. There are subplots that are hinted at that drive the narrative forward, but that is all they do; they pop up for a scene and are never mentioned again. There is a lot of potential but Level 16 fails to truly look deeper and dissect the premise. Neither can you escape the pacing of the film. The first two acts take their time to try and build the world and the system, but it leaves so many questions unanswered that it builds into nothing. It has one good idea in the climax, but otherwise, there is little satisfaction to be had in the conclusion.
Like Logan's Run and The Island, the premise of Level 16 asks us to question what we are taught by society, to question the boundaries set, and to seek out your own truths. Unfortunately, the ambiguity in the film and a rather weak backstory (despite some really good performances) makes the film anti-climactic.
Katie Douglas looks amazing, and really has the gorgeous features that the role requires, but it isn't enough to give the story any credence. At 102 minutes, it's no too long a film, but I'm still hesitant to recommend it.