Written and directed by Christopher MacBride, the Canadian mystery-thriller Flashback was released in 2020. The film delves into subjects such as memory, time, identity, and the determinants of self, henceforth it was titled The Education of Frederick Fitzell. Additionally, it explores the interrelation of narrative and philosophy, granting it a unique position within psychological science fiction.
Inhabiting the role of Fred Fitzell, Dylan O’Brien portrays a man in his early thirties who seemingly leads a typical life: a corporate job and a steady relationship with girlfriend Karen, alongside coping with his mother’s declining health. Despite this, Fred becomes subjected to unsettling flashbacks that hone in on a high school classmate Cindy Williams, a girl who had inexplicably vanished.
More vivid memories prompt Fred to reassess the validity of his perception and even his sanity. He reaches out to two of his old high school friends, Sebastian and Andre, who bring to his recollection the drug Mercury or “Merc” that they used to partake in. This so-called ‘mind-expanding’ drug was speculated to let users perceive time in a non-linear fashion. Following these interactions, Fred’s sense of reality becomes increasingly fractured, blurring timelines and memories and alternate versions of his life.
Together with Cindy, Fred experiences fantasies of them living in defiance of undefined societal threats or expectations. He also envisions parts of his life in which he never encountered Karen, did not accept the corporate position, or completely removed himself from society. These realities seem to depict time as a multi-directional web rather than a linear path, with all possible lives accessible through consciousness and memory.
In time, Fred reveals the repressed memory defining the core of his existential dread: an infantile memory of his mother saving him from falling down a flight of stairs. This trauma may explain some of his fragmented perception of reality and time. In confronting such memories, he embraces the present and therefore opts to reclaim the life he was living—alongside Karen, in his career, and while caregiving for his mother. He does so embracing the constraining yet comforting linear sequence of life, as opposed to the alluring but chaotic realm of boundless potentialities.
Cast and Crew
Dylan O’Brien portrays the lead character Fred Fitzell in the film’s premiere where he is shown bringing out the Fred Fitzell character with so much depth and emotion. O’Brien, best known from the Maze Runner series and Teen Wolf, provides a surrealistic emotion to mirror the storytelling.
Cindy Williams has been portrayed by Maika Monroe and she is the classmate who mysteriously disappears, triggering Fred’s psychological unraveling. Monroe, embodying the character spirit that might exist across timelines and memories, became known for playing in It Follows, The Guest.
In the more emotive role of Karen, Fred’s partner in his present-day life, Hannah Gross offers a performance that balances the disorder of Fred’s time-shifting escapades with some semblance of equilibrium.
Emory Cohen and Keir Gilchrist star as Fred’s old friends Sebastian and Andre, who with their elements of nostalgia are deeply unsettling, serving as a reminder of their collective drug use and chaotic history.
As writer and director, Christopher MacBride brings a unified idea to the film regarding its philosophy and structure. The visual disorientation of the film is complemented by Brendan Steacy’s cinematography. Through striking imagery, he creates an unsettling film atmosphere. The ambient and often haunting musical score is composed by Pilotpriest (Anthony Scott Burns), contributing significantly to the mood and tension.
Reception and Critical Response
With a garnering of mixed critical responses, Flashback is regarded for its ambition, visuals, and performance by Dylan O’Brien while simultaneously critiqued for being overly complex and convoluted. A film rating on major platforms suggesting a polarized response indicates that many found the non-linear narrative fascinating while others were left confused or felt no emotional connection.
As mentioned by some critics, the film Flashback might be one of the most daring pieces of cinematic art, actually trying to manipulate the concepts of memory, time, and reality in a way where audience participation is a necessity. Unlike other thrillers Flashback will not give you an easy resolution, nor an answer to the questions that arise during the watching of the film. The film prefers to remain in the realm of uncertainty and leans toward ambiguity embracing every possible interpretation.
Some interpretations center the film as social commentary revolving around burdens of choices one faces in modern contemporary world. Fred’s multiple peeks into alternate lives suggests a generation that is paralyzed by potential—raised in the “what if” culture, forever distracted by visions of alternate realities rather than learning to accept the now. Others interpret the drug Mercury as a trauma metaphor, or possibly even a life metaphor, offering access into regions of the mind where reality and imagination intertwine but should ideally be left undisturbed.
Themes and interpretations
Flashback deeply studies the nature of memory, trauma, and multiverse theory. The film proposes the idea of time not being sequential as something experienced linearly but rather subjectively on a per person basis, especially when influenced by trauma or mental alterations. Fred’s journey isn’t merely about piecing Cindy’s disappearance mystery together, rather it’s about embracing his own inner riddle in the form of a jigsaw puzzle.
The film explores the less fixed aspects of our world. Within the film, the drug Mercury serves a dual purpose. It represents Fred’s temptation to escape both his memories and what is tangible. This indulging leads to risking his hold on reality. In the end, the film has boils down to one question; is it better to chase an idealized, fantasized past or future, or find solace in accepting the present?
The presence of Fred’s dying mother adds emotional weight to the story. Love, loss, and the steady march of time deeply shape the tale she grounds it in. Fred’s mother’s death shifts the story forward, catalyzing his return to the real world and motivating acceptance of his reality.
Final Thoughts
In the case of Flashback, casual watchers need not apply. Eager viewers will need patience due to the film’s dense non-linear structure, surreal visuals and thematically layered narrative. In exchange, the film aids in reflecting on identity and memory while contemplating the multitude of paths left unexplored.
Flashback sets itself apart as a cerebral thriller with its evocative cinematography, a powerful lead performance, and careful direction. While the film may not suit viewers who seek an overtly straightforward plot, it will piquet the interest of those who delve into the themes of time and consciousness.
No matter how one chooses to approach it, whether as a sci-fi mystery, psychological study, or metaphysical allegory, Flashback remains an ambitious and singular film that rewards deep contemplation and multiple viewings.
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