Be My Cat: A Film for Anne. 2016. Directed & Written by Adrian Tofei.
Starring Adrian Tofei, Sonia Teodoriu, Florentina Hariton, & Alexandra Stroe.
Produced by Tofei. 87 minutes.
★★★★Found footage annoys certain people. Me, I’m always willing to give it a chance. There’s a lot of good stuff out there – unique, innovative stuff. No shortage of it, but now and then you’ve got to dig through a heap of trash to find the diamonds. Be My Cat: A Film for Anne uses its found footage premise well, driving the main theme of the film: obsession.
Director and writer Adrian Tofei blurs the line between fiction and reality so well that at times it’s easy to forget you’re watching a film. Using the idea of trying to get the attention of Anne Hathaway in Hollywood, Tofei puts himself in the lead role of a director badly wanting to make a movie with her. This isn’t exactly a totally original premise. It’s the way Tofei enacts his plot, the dread which follows and everything in between that makes this slice of found footage different.
As is the case with most of the sub-genre, this entry doesn’t have much style to it. That matters not. Tofei’s acting, his eerie presence, and the raw qualities of the filming, these are elements which make this a worthwhile watch for any fans of the found footage style.
There are plenty films involving stalkers in this sub-genre, but they’re so often masked, or unseen behind the camera’s lens. Tofei is upfront and centre the entire time. This allows us a way into his mind, giving the audience a passenger side seat to the psychosis that overtakes him gradually; or maybe it’s been with him the whole time. Either way, it’s ugly. Not in a way which detracts from the story. There’s a compelling feel to watching this guy unravel.
Obsession is the theme driving everything. Underneath, this film is about the blur between fiction and reality. Philosopher Jean Baudrillard talked about the simulacra and how the world’s become hyperreal, in that everything real has more so become just a form of something fictional we all recognise (that’s a very liberal take on his extensive concept). In a way, this is how Be My Cat is structured. Tofei dives deeper and deeper with each scene into that psychosis I mentioned, along with the audience. The further he gets into the movie he’s making to send Anne, the more he feels justified in the things he’s doing. “This is the sacrifice I‘m making,” he tells the camera, as if urging us to believe in him. What happens is a process of dissociation. Tofei dissociates from the self, becoming his character – Adrian, himself – far too literally. Reminding us that he is in fact this character Adrian and not the real Adrian, he says: “I would never do something like this.” Real murder becomes mere character action, the progression of his psychosis is then development in his dangerous metafiction view of the world, through his film. It’s like method acting gone past the point of normal psychology.
The story’s trajectory is relatively obvious. Early on we understand there’s something not quite right with Adrian. Doesn’t take long. It’s how he takes us there that makes the plan uniquely terrifying. Adrian’s kinda crazy, kinda nonchalant attitude is unsettling, at the same time not wholly without charm either. His character, gradually flipping from fiction to reality to metafiction, engages the audience even in the slower scenes. You can’t help wondering what he’ll do or say next, which keeps you off balance, and never quite capable of pinning him down with any understanding.
A pivotal moment for his character comes when he says that “boys and dogs are bullies” when he talks about girls and cats. We hear a bit about why he likes cats, or why the character likes them. And this is one major point of division between Adrian and his fictional character Adrian. There’s a clear line you can follow, watching the dissociation get worse.
This movie isn’t built on shock value, either. You expect it to be, but what the story focuses on most is Adrian’s descent into fiction that becomes brutally real. Along the way there’s obviously blood. Rather than go for a gory mess constantly, the blood is at times partly off-screen and the full nastiness is hidden. What’s worse is one scene where a victim comes upon a slow realisation that Adrian is actually preparing to do a homemade dissection on her. Too creepy. He fully dissociates from reality at this point, the ultimate separation, and doesn’t for a single second come to grips with the real murder he’s committing.
I remember hearing of Be My Cat and just the short description, the Twitter account, caught my attention. There’s an edgy psychological aspect that sinks its teeth in and never lets go. Admittedly, I know that some may not find it as compelling. Not everyone wants to do a slow burn into madness in found footage format. And that’s fine, I understand. I suggest giving it a chance. Tofei has done something here that’s on the verge of greatness.
There are times you might feel the acting isn’t up to par. I disagree. Tofei’s uncomfortable moments are used to good effect, and that also plays into the worrisome metafiction of the film overall. The performances of the actresses are equally as impressive. When you fall down the rabbit hole of despair alongside the fictional Adrian Tofei and his unsuspecting victims it’s all the more troubling that the performances on either side of the murder-victim aisle pull you into a space where fiction gets questionable.
Can’t recommend this film enough. I’ve seen it described as revolutionary for the found footage sub-genre, as dangerous, many other things. They’re pretty much all right, as far as I’m concerned. Looking forward to whatever this guy takes on next. If Be My Cat is any indication, Tofei has an intriguing perspective on the horror genre.
I'm a Bachelor of Arts (Hons.) graduate and a Master's student with a concentration in early modern literature and print culture. Although I've studied everything from Medieval literature onward, also spending an extensive time studying post-modern critical theory; I have a large interest in both Marshall McLuhan and Jean Baudrillard. I completed my Honours thesis on John Milton's Paradise Lost + the communal aspects of its conception, writing, and its later printing/publication. This thesis will serve as the basis for a book about Milton's authorship and his influence on pop culture (that continues to this day). My Master's program involves a Creative Thesis, which will be a full-length, semi-autobiographical novel. Author Lisa Moore is supervising the writing of this thesis. I'm already looking towards doing a dissertation for a PhD in 2019, focusing on early modern print culture in Europe and the constructions of gender identities. - I'm a film writer, author, and a freelance editor. My short stories have been printed in Canada and the U.S. I edited Newfoundland author Earl B. Pilgrim's latest novel The Adventures of Ernest Doane Volume I. Aside from that I have a short screenplay titled "New Woman" that went into post-production during early 2018. I was part of a pilot episode for "The Ship" on CBC; I told a non-fiction story of mine about my own addiction/alcoholism live for an audience with nine other storytellers. - Meanwhile, I'm writing more screenplays, working on editing a couple novels I've finished, and running this website/writing all of its content. I used to write for Film Inquiry frequently during 2016-17. I'm currently contributing to a new website launching in May 2018, Scriptophobic; my column is titled Serial Killer Celluloid. Contact me at email@example.com or hit me up on Twitter (@fathergore) if you want to chat, collaborate, or have any questions for me. I'm also on Facebook at www.facebook.com/fathersonholygore. Cheers!