Review: Watcher (2022)
Rating: ★★★★☆ (4/5)

Watcher (2022) is a chilling psychological thriller that keeps you on the edge of your seat from start to finish. Directed by Chloe Okuno, this slow-burn horror film not only explores the fear of being watched but also delves into the paranoia and vulnerability that come with living in a world full of hidden dangers. With a standout performance from Maika Monroe, the film offers a gripping experience that builds tension with every scene, while slowly unraveling a terrifying mystery.

The story follows Julia (Maika Monroe), an American woman who moves to Bucharest with her boyfriend, Francis (Karl Glusman), for a fresh start. While Francis immerses himself in his work, Julia finds herself increasingly isolated and disconnected in a foreign city. As she spends her days at home, she begins to notice a man (Burn Gorman) across the street who appears to be watching her every move. As the tension mounts, Julia becomes consumed by the feeling that someone is following her, but no one believes her. Is she being paranoid, or is someone truly out to get her?

Maika Monroe delivers a powerhouse performance as Julia, perfectly capturing the fragility of a woman trying to hold on to her sanity in an increasingly sinister world. Monroe brings a sense of raw vulnerability to her character, making her paranoia feel tangible and relatable. As Julia’s fear grows, Monroe skillfully portrays her emotional unraveling, creating a character that you can’t help but root for. Her journey from suspicion to terror feels natural and grounded, drawing the audience into her world of unease.

The film’s real strength lies in its atmosphere. Okuno expertly crafts a sense of dread through minimalist storytelling and тιԍнт cinematography. The city of Bucharest itself becomes another character in the film, with its cold, imposing architecture and dark, unfamiliar streets amplifying Julia’s sense of isolation. The camera work is often voyeuristic, placing us in the position of the watcher—an unsettling choice that heightens the tension and gives the audience a firsthand experience of Julia’s fear. The film makes the most of its claustrophobic setting, with the majority of the action taking place within Julia’s apartment or in the shadowy streets outside, creating a sense of confinement that is both physically and mentally suffocating.

While the premise of Watcher could easily veer into predictable thriller territory, the film keeps you guessing with its psychological depth and nuanced characters. The slow-burn tension builds gradually, with Okuno taking her time to develop Julia’s growing anxiety before finally delivering the gripping payoff. It’s a film that plays on your fears of being watched, but also on the deeper fear of being alone in a world where no one truly understands you or believes your reality.

The pacing is deliberate, which may frustrate viewers who are expecting more fast-paced action or scares. Instead, Watcher is about creating an atmosphere of constant, creeping dread. The film slowly chips away at Julia’s sense of security, forcing her—and the audience—to question what is real. Is Julia just imagining things? Is there really someone watching her, or is it a figment of her anxious mind? The film doesn’t answer these questions easily, leaving room for interpretation and creating an unsettling ambiguity that lingers long after the credits roll.

The supporting cast, including Burn Gorman as the mysterious man across the street, plays an important role in maintaining the tension. Gorman is eerie and enigmatic, making the viewer question his intentions every time he appears on screen. Karl Glusman’s portrayal of Francis is subtly effective as well, as he remains a somewhat distant figure in Julia’s life, causing the audience to wonder if he truly sees her distress or if he’s dismissing it as overreaction.

The film’s score, composed by Nathan Halpern, complements the mood perfectly with its minimalist, eerie tones. The music adds to the psychological unease, enhancing the sense of dread and paranoia. Every creaking floorboard or shadowy figure is amplified by the subtle yet effective score, making the entire experience feel more intense and unnerving.

While the film’s pacing may not be for everyone, Watcher excels in creating a suffocating atmosphere of tension and dread. The film builds to a gripping climax that is both chilling and satisfying, offering a haunting resolution without relying on over-the-top twists or gore. Instead, it leaves you with a lingering sense of unease, questioning the boundaries between fear and reality.

In conclusion, Watcher (2022) is a тιԍнтly-wound psychological thriller that excels in creating a palpable sense of fear and paranoia. With a stellar performance from Maika Monroe and a masterful atmosphere of dread, the film will resonate with fans of slow-burn horror. While it may not provide the jump scares or action-packed thrills that some viewers may expect, its psychological tension and disturbing realism make it a standout in the genre. It’s a film that keeps you guessing and lingers in your mind long after you’ve watched it.

A Farmer’s Misplaced Hammer Led to the Largest Roman Treasure in Britain

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November 16, 1992 was the day which changed Suffolk-resident Eric Lawes’ life in a huge way. What he thought would have been an innocent search for a hammer he had misplaced on his farm in Hoxne Village, Suffolk, England ended up bringing him much more than he had bargained for — namely, uncovering the hiding spot of a long-hidden treasure. Based on the Guardian’s coverage of the story, Eric Lawes had been previously gifted a metal detector upon his retirement as a parting token. He decided to put his retirement gift to good use in order to locate the hammer which he had had some trouble finding. According to a 2018 Smithsonian Magazine article, when the device started recording that there was a strong signal coming from the earth, he knew that he was about to discover something big. As he started digging, it soon became clear to him that he had unearthed a treasure trove.

The Guardian reports that, when Lawes saw that his preliminary digging had yielded a few gold coins and silver spoons, he immediately contacted both the local archaeological society and the police department. Archaeologists came to the property the following day and had the area of earth holding the treasure carefully sectioned-off and removed. Their hope was that at a later stage, in their laboratory, they could examined the items in order to identify both their age and how they were stored.

When all was said and done, close to 60 pounds of items made from silver and gold were found on the site. These included more than 15,000 Roman coins, 200 gold objects, and several silver spoons. For archaeologists, this find — which later became labeled as the Hoxne Hoard — was an incredible discovery. AP News reported that archaeologist Judith Plouviez was over-the-moon about the discovery, saying that it was “an incredibly exciting and amazing find.” What’s more, another archaeologist, Rachel Wilkinson, told Smithsonian Magazine that this discovery was “the largest and latest ever found in Britain.”

Ordinarily, archaeologists would use radiocarbon dating as a means of identifying the age of ancient relics. However, they couldn’t locate any suitable material from the haul. Consequently, they determined the age by examining writing on the coins, as well as the ruler carved into them, estimating that the treasure was probably buried in either 408 or 409 AD.

Roman-era archaeologist Peter Guest told Smithsonian Magazine that “if you look at them a little more carefully, then they should be dated to the period after the separation of Britain from the Roman Empire.” He offers as part of his evidence the fact that almost all of the coins found in the Hoxne Hoard were clipped – in other words, small chunks of their edges had been taken off. These clippings would have been used to create coins which were similar to the Roman coins of that era.

Guest has a logical reason for this, arguing that “The Roman Empire wasn’t supplying Britain with new gold and silver coins, and in light of that, the population tried to get over this sudden cutoff in the supply of their precious metals by making the existing supplies go further.”

Archaeologists also believe that the treasure belonged to a Romano-British family. During that time, considering that there was so much societal discord and upheaval, it was common for Romans who had settled in Britain to bury their most prized possessions.

That said, one archaeologist is of the belief that the hoard had a lot of sentimental value for the Romano-British family to whom it is believed to have belonged. In her book The Hoxne Late Roman Treasure: Gold Jewellery and Silver Plate, Catherine Johns claims that the manner in which the treasure was kept supported this claim. Some of the items which were recovered had been packaged in small, wooden boxes which were lined with leather. What’s more, pieces of wood, locks, and nails, among other things, surrounded the gold and silver pieces. This leads Catherine to assert that the package was carefully buried and not simply chucked away in a rush.

Interestingly enough, the items unearthed might shed some light on the identity of the family who owned them. They cite a gold bracelet bearing the inscription “UTERE FELIX DOMINA IULIANE,” which roughly translates to “use this happily Lady Juliane”. A second name “Aurelius Ursicinus” has also been discovered. This has consequently led some to believe that Juliane and Aurelius were the couple and the original owners of the treasure. That said, that has yet to be confirmed.

All in all, the discovery was a real treasure for archaeologists, and by extension, for Lawes. According to Smithsonian Magazine, in recognition of his discovery and willingness to contact authorities, the British government rewarded him with over £1.7 million, an amount which he shared with the farmer whose land was dug out in order to get the treasure. Funnily enough, apart from the treasure, Lawes also found his lost hammer — which now resides in the British Museum.