The voyeuristic nature and misogynistic undertones of “Who’s Watching,” the psychological thriller from musician-turned-filmmaker Tim Kasher, carry an immediate, deliberate “ick” factor. It lingers for so long in the opening acts that viewers might be tempted to tune out early, but what the narrative pulls off in its final act makes enduring the cringe worthwhile.
Written and directed by Kasher, the film centers on Caleb (Zachary Ray Sherman, “A Desert”), an eccentric musician who becomes dangerously obsessed with his new coworker, Krista (Gracie Gillam, “Superhost”). As Caleb secretly documents her life under the guise of making her the subject of his latest art project, his fixation spirals into an unsettling level of surveillance that stretches far beyond simple camcorder footage.
Sherman’s performance completely anchors the film. He oozes sleaze whenever he is on screen, yet early scenes lend him just enough awkward vulnerability to evoke a fleeting sense of pity—before his escalating behavior obliterates any sympathy.
Attention should also be given to Olivia Luccardi as Tawnia. While in a seemingly smaller role, Luccardi brings a sharp confidence and a provocative edge that command the screen. She provides one of the few counterweights capable of putting Caleb on his heels, delivering a grounded, standout performance.
Visually, the film finds clever ways to stay dynamic. While it leans into a found-footage aesthetic, it avoids the genre’s typical pitfalls thanks to inventive framing and varied recording perspectives. Early office sequences use mockumentary-style angles and camera whip pans that evoke an unsettling, distorted spin on “The Office.”
Thematically, the core story holds together, even if certain narrative detours feel uneven. A prominent subplot revolves around Caleb playing bass in a band named Toxic Cock Syndrome as they produce a music video—complete with an oversized prosthetic (and eventually animated) penis. While meant to reinforce Caleb’s grotesque mindset, the character’s conversations and invasive habits effectively establish his repulsive nature on their own, making the sequence feel more like a self-indulgent detour by a musician at the helm. That said, the broader sonic landscape works: the heavy, grunge-infused soundtrack serves as a fitting, gritty backdrop.
The pacing of the discomfort remains the film’s biggest hurdle. Caleb’s predatory behavior dominates the runtime for so long that the eventual third-act pivot, while necessary and deeply satisfying, feels slightly compressed. Kasher has noted in post-screening Q&As that the project underwent a lengthy production cycle, reshoots, and shifts in narrative direction, which might explain why the back half feels somewhat rushed.
While not without structural flaws, “Who’s Watching” stands as a solid sophomore directorial effort from Kasher. It is visually engaging, and for audiences willing to sit through the agonizing cringe of Caleb’s early spiral, the destination delivers. Rather than relying on traditional gore, violence, or high-octane tension, the true horror lies in the sheer discomfort of watching Caleb’s obsession unfold.
“Who’s Watching” recently concluded its nationwide roadshow tour and arrives on digital platforms Sept. 18, coinciding with limited theatrical runs at New York City’s Roxy Cinema and Los Angeles’ Laemmle Glendale.
