Jessica Hausner’s films occupy a realm where ambiguity thrives, and extreme emotional states cohabit. "Club Zero," her newest cinematic venture, vividly represents this pattern. The narratives of her previous works like "Lourdes" (2009), "Amour Fou" (2014), and "Little Joe" (2019) unfold within isolated realities where rational thought is exiled. In "Club Zero," a school for "difficult" kids becomes the stage for this exploration of overriding ideas and the blurring line between fantasy and reality.
The unique Miss Novak (Mia Wasikowska), a new teacher with a focus on nutrition, introduces a program named "conscious eating" that rapidly gains traction among her students. Here, the appeal of feeling special and superior manipulates students into adopting a rather extreme perspective on eating habits. The potent influence of this fanatic school teacher over her students rejuvenates parents' worry and curiosity, catalyzing an intricate web of dynamics that only Hausner can masterfully project.
Ideological manipulation reaches an unsettling peak, with students buying into the ideology of eating less and less. Not only does this lead to an unhealthy rise in eating disorders, but the growing sect-like mentality within the school begins to frighten some teachers. The film, however, leaves ample room for viewer interpretation and critique while striking an eerily mysterious tone throughout.
The film’s cast, comprising Florence Baker, Samuel D Anderson, Luke Barker, Ksenia Devriendt, and Gwen Currant, delivers a compelling performance, enhancing the narrative's surreal undertones. The distinct cinematography by Martin Gschlacht, a frequent collaborator of Hausner, adds another intricate layer to this complex, thought-provoking narrative.
"Club Zero" reignites the age-old debate about the powerful effects of ideology on young minds, and the helplessness of those outside the influence spectrum. It underlines the monotony inherent in a fanatic ideology while leaving audiences teetering on the edge of suspense, as deep-rooted ideologies clash in distinct ways. Although capping off with more questions than answers, the film maintains a unique charm, much like Hausner’s previous work.
