COHERENCE: Surprisingly Effective Sci-Fi Thriller

The theory of parallel worlds is a convenient starting point for science fiction filmmakers. This is because its assumptions can elegantly influence our imagination. According to it, our universe is one of many, and events that, due to the choices we make, do not occur in our world take place in an alternate reality. The narrative possibilities based on the multiverse are virtually limitless, which is why we’ve often had the chance to cross over to the other side of the rabbit hole in various ways. But let’s take a moment and imagine a situation in which such a world exists right next to our own. James Ward Byrkit followed this path in his film Coherence. 

A group of friends gathers for a dinner, which is accompanied by wine and takes place in a pleasant atmosphere. However, this does not last long, as strange things start to happen: the screens of mobile phones crack, and the lights in the house go out. The characters begin to suspect that these anomalies might be caused by a comet passing over Earth that evening. When they decide to check what’s happening in the neighborhood and seek help, they are confronted with… themselves.

James Ward Byrkit, making his feature film debut, used exceptionally minimal means to realize his idea. The film was shot in just five nights, which is impressive. The shots were filmed hand-held, as in cinéma vérité, and technical imperfections were evidently deliberately incorporated into the process – the camera struggles with focus and creates a noise effect. I must admit that I have trouble with these shots. While they can evoke a sense of authenticity and closeness, they lose out in another aspect. When they are conceptually detached from found footage – that is, when the camera is not held by one of the characters, which would justify its “shakiness” – they appear simply as an intentional piece of poor camera work. And whenever I realize this, it starts to bother me.

But it is not the technique of the shots, which, after all, is also partly a result of the film’s low budget, that is the most important thing here. The essence lies in the idea and the intrigue that develops from it. By placing the action in a single room, the tension builds up through dialogue and rising paranoia. It’s easy to feel like one of the participants in the shared evening. The most interesting are the characters’ behaviors, each of whom tries to deal with the effects of this, let’s face it, shocking situation in their own way. The director occasionally diverts our attention, only to surprise the viewers with another twist: the suspicion that our characters might have switched places with their alternative copies, leaving us unsure of who we are actually interacting with at the final stage of the film. This encourages a repeat viewing to reassemble the puzzle’s pieces.

Coherence is not a film for which I would write a praise-filled review. After all, it is only a neat and creative reworking of a genre-friendly motif, while maintaining respect for its scientific foundations. However, it does carry an important message: if you want to grab the viewer by the throat with a sci-fi vision, special effects and huge financial investments are not always necessary. Sometimes, it is enough to knock over the first domino and let the rest be filled in by the viewer’s imagination. Such an experience is always valuable and, in its own way, purifying.