“It’s What’s Inside” might have slipped under your radar this year, as it almost did mine. Frankly, I stumbled upon this independent film through a series of social media ads and decided to press play on a whim one evening after work. My expectations were low, perhaps hoping for a mildly engaging story to pass the time. What unfolded on screen, however, was a cinematic experience unlike anything I had encountered recently. Directed by Greg Jardin, this film, remarkably shot in just 18 days, made its debut at Sundance before landing on Netflix in early October and deserves your attention.
Unpacking the Premise: A Sci-Fi Twist on a Party Game
The narrative of “It’s What’s Inside” centers around a reunion of college friends the night before a wedding. The familiar celebratory atmosphere takes a sharp turn when an unexpected guest, Forbes, arrives bearing a bizarre invention. This device introduces a sci-fi infused twist to the classic game of Werewolf, becoming the catalyst for the film’s central intrigue.
Forbes’s machine facilitates a consciousness swap, transferring minds between bodies within the group. The game’s rules are simple yet profoundly complex: characters must interact and deduce who’s mind is inhabiting which body, relying on subtle personality shifts and behavioral cues. This unique premise immediately sets “It’s What’s Inside” apart, laying the groundwork for a film that is both intellectually stimulating and deeply entertaining.
Acting as Shape-Shifting: A Masterclass in Performance
The brilliance of “It’s What’s Inside” is significantly amplified by its exceptional acting. Each actor faces the demanding task of not only embodying their original character but also convincingly portraying their castmates’ interpretations of their characters after the consciousness swap. This layered performance is consistently impressive throughout the ensemble cast, but James Morosini delivers a particularly noteworthy performance.
Morosini’s initial character, Cyrus, is presented as the most balanced and grounded member of the group. This established baseline makes his portrayal after the swap all the more striking. He skillfully navigates the nuances of embodying different personalities while maintaining a core of Cyrus, showcasing a remarkable range and control that anchors the film’s more outlandish elements.
Editing that Elevates: Visual Storytelling at its Finest
However, the true cinematic genius of “It’s What’s Inside” lies in its groundbreaking editing. It’s a style that feels genuinely fresh and innovative, unlike anything commonly seen in contemporary film. Explanatory scenes are rendered through captivating black-and-white, stop-motion style diagrams. These sequences dynamically evolve, with details added or altered as new information and flashbacks emerge, providing an incredibly engaging and visually arresting way to convey exposition.
Another striking editing technique is the use of red lighting. When the screen is bathed in red, it signifies that the audience is witnessing the “souls” within the bodies, offering a perspective beyond mere physical appearances. This technique heightens the emotional intensity of pivotal moments, creating a sense of privileged insight for the viewer. The film’s visual palette extends beyond red, embracing neon greens and blues, echoing the vibrant aesthetic of films like Halina Reijn’s “Bodies Bodies Bodies,” and contributing to the film’s overall stylish and modern feel.
Navigating the Labyrinth: Embracing the Intentional Confusion
If “It’s What’s Inside” has a potential drawback, it’s the inherent complexity of its body-swapping concept. The film is structured in three parts: rounds one and two of the game, and a concluding coda. The initial round serves as an accessible introduction, with straightforward swaps to ease the audience into the premise (Shelby in Brooke, and Brooke in Shelby; Reuben in Cyrus, and Cyrus in Reuben, etc.).
The second round intentionally escalates the confusion. The consciousnesses are randomly redistributed, and amidst the escalating drama, the precise locations of many souls are never explicitly stated. While the characters’ personalities offer clues, allowing the audience to piece together “who is who,” the sheer number of characters makes it a demanding mental exercise. This is further complicated by the characters continuing to address each other by their body names, not their soul names.
Objectively, simplifying this aspect would likely diminish the film’s unique charm and intellectual engagement. The filmmakers cleverly utilized pictures as name tags initially, but the chaotic nature of the game naturally leads to the characters (and audience) losing track. This intentional disorientation, while potentially challenging, is arguably integral to the film’s premise and overall impact. “It’s What’s Inside” demands active viewing, drawing the audience into its intricate web and rewarding close attention. The film is so absorbing that the thought of pausing or stopping almost feels foreign.
A Bright Future for Film: Netflix and Innovative Storytelling
Despite director Greg Jardin and many of the cast members being relatively lesser-known, “It’s What’s Inside” showcases immense potential. With stronger marketing, this film could propel its creators to significant recognition. It demonstrates an elegant command of cinematic language and character development rarely seen in recent years. If “It’s What’s Inside” is indicative of the type of innovative, thought-provoking films Netflix is acquiring, then the future of streaming cinema looks exceptionally promising.
