Canadian Awesome: Cube
Time after time the fusing of elements such as futurism, sci-fi and film turn out to be less a blessing and more of a curse—with so many good science fiction films produced by the early 90s it was hard to imagine anything new breaking any ground. Then along came Cube (1997, directed by Canadian Vincenzo Natali); a psychological masterpiece, it went on to spawn a number of not half bad sequels and was the start of a sci-fi revolution that steered clear of aliens and spaceships, in favour of tense human interaction laced with claustrophobic horror.
Cube gets under the skin and crawls about, that’s where it’s most effective, and where the story really takes effect. On the surface it is all blood and guts, but beneath it is a disturbing silence–watching Cube in the dark you can easily imagine the feeling of being trapped, walls closing in on you, sinking further and further in to the depths of despair.
Using an extremely limited concept—the characters in the film are usually together at all times and trapped within the same malevolent four walls—the film somehow achieves more than most high-budget action thrillers, constantly racking up the tension as the Cube reveals its terrible secrets.
The sparse set design is what makes the movie. Theatrical in places, it is less about what is happening inside the Cube itself—of which nobody within it knows very much about, seeing as they can’t remember how they came to be there—and more about what is going on inside of the panicked individuals trying to escape it. Frightening and brilliantly conceived, there is just enough gore in Cube to keep the horror fans happy, but not so much as to belittle the intelligent nature of the plot.
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