‘Psychonaut’ Journeys to the Darkest Recesses of the Mind But Gets Lost On the Way Out [Review]

Psychonaut begins with a concise definition of its titular concept — a person who explores altered states of consciousness within the human mindscape — only to infinitely double-down on the idea’s most terrifying consequences. Yes, a psychonaut explores altered consciousness, but they’re also subjected to the many dangerous and destructive impulses that flood the human mind and strike when someone is at their most vulnerable. Psychonaut turns the brain into a labyrinthine house of horrors where escape isn’t as simple as just finding the door. What follows is a claustrophobic and alienating experience that’s as surreal as it is scary. It’s a compelling calling card for Dutch indie filmmaker Thijs Meuwese that highlights the atmospheric skills of a visionary genre storyteller, but occasionally feels too scatterbrained

Psychonaut is a meditation on mind-altering technology that infiltrates and violates memories. Maxime (Julia Batelaan) submits to an experimental treatment that has the potential to save the life of her girlfriend, Dylan (Yasmin Blake), by traveling to the center of her mind and retrieving an “essential memory.” This futuristic machinery is presented as a life-saving advent and privilege, yet it’s fraught with concerns and a volatile creator (Fiona Dourif). It’s a sci-fi concept that’s akin to the brain-plumbing madness that’s explored and deconstructed in recent horror films like Memory, Inc, Luz, Possessor, or even non-horror fare like Inception and Eternal Sunshine of the Spotless Mind. 

Psychonaut never reaches the same heights as the aforementioned movies. However, it sets itself apart from these other “mind machinery” horror films by banking on a powerful love story as its emotional core. The film features characters who are deeply empathetic, but it’s still not afraid to go for the jugular and recklessly tear through a fragile subconscious like it’s tissue paper. Unfortunately for Max and Dylan, shredded tissue paper would be easier to clean up than the mental remnants that their experimental expedition leaves behind. 

The message is abundantly clear, but its execution is occasionally sloppy. It gets a lot of mileage out of how it tackles perception, hindsight, and the ways in which it reframes and blurs together old experiences into a lucid memory palace that’s on the cusp of collapse. Conflict comes in the form of trauma that’s manifested into actual physical antagonists that threaten Max’s mission as she trudges through her lover’s lobes for answers. Psychonaut aims to innovate, but it becomes an existentialist melodrama, slow-motion break-up, and visceral therapy that’s dressed up as a sci-fi horror film. That being said, it takes a pretty unexpected turn during its final act that helps elevate the film and make its shaggier themes become slightly more impressive.

Aesthetically speaking, Psychonaut is serviceable and it seems more concerned about its emotional and introspective story. However, there are some bright spots when it comes to the visuals. There’s some really evocative and creative use of light and shadow that makes a memorable impression. Psychonaut is presented almost entirely in black-and-white, which helps the few rare scenes that are in color truly pop. It also doesn’t hurt that it’s a very concise film that doesn’t overstay its welcome and that the credits are already rolling by the 85-minute mark.

Psychonaut often sticks the landing with its uncomfortable horror and science fiction setpieces, but the moments where the film tries to masquerade as a gritty crime thriller fall flat and feel unnatural. It struggles on this front and there are definitely moments where it spreads itself too thin and would benefit from a more focused perspective that understands where its talents lie. This erratic presentation style is certainly apt considering the subject matter, but it weakens the film’s impact and highlights some of the areas where Meuwese still needs to grow as a filmmaker.

There are some captivating concepts and haunting imagery present in Psychonaut, but the film’s inconsistent performances (outside of Fiona Dourif) become one of its biggest hurdles. There is some really heightened acting that doesn’t so much feel intentional as it does inexperienced. It results in a very pulpy dynamic that’s akin to something like Sin City, yet the desired effect here isn’t a cheap graphic novel that’s brought to life. These scenes, despite their striking black-and-white cinematography, drag down Psychonaut and hold it back from greatness. Thankfully, there’s still a lot of successful horror and rich ideas to pull from in this movie.

Psychonaut deserves credit for shooting for the moon, but its lofty ambitions cause the film to fall short and end up out of orbit. There’s unfortunately nothing here that hasn’t ostensibly been done before. It’s rather telling that in a horror/sci-fi film that boasts heady science and technology, it’s the character dynamics and raw emotions that leave the biggest impression. There’s a strong mother-daughter bond that leads to many of Psychonaut’s best material. There’s plenty to latch onto, just not enough for the movie to stick around and set up shop in the recesses of the audience’s minds.

Psychonaut premiered at the Brooklyn Horror Film Festival 2024.