Wonderful character development!

A film with more than the usual spoiler issues. Talking about it in any detail feels akin to handing you a gift-wrapped present and saying, "I hope you like it -- It's a thriller about a diabolical secret experiment."

It's the kind of movie you'll want to see a second time with someone who hasn't seen it yet, to remember what it was like to watch it for the first time.

A film of deceptively outspoken contemporary relevance, this is cinema at its most alert, alarming and alive.

Brando Colvin's "Frames" is excellent example of Formalist Style from beginning to end. It is amazing to me that he can achieve this on a low budget.The concern here is on how "reality" is "perceived" within the context of what is captured in a frame of film. This idea is communicated not only in the reality of the leading character's view of his world, but in the view that Colvin provides to the audience.The film's actors prove to be quite effective in adapting their performances to fit within the context of style. Their performances are almost avant-garde as "truth" is communicated in specifically nuanced and almost emotionless ways.The film continually references Hitchcock's "Rear Window" in interesting ways that serves as connection to limited information leading to what a character perceives to be "truth" --- Though the stylistic manner of the film is really much more tied to Robert Bresson and some of Michael Haneke's earlier work. I can also sense some inspiration coming via the way of Michelangelo Antonioni's work (particularly "Blow Up" and "La Notte"Once the viewer adjusts their own frame of reference, Colvin's film takes hold and results in a surprisingly intense little thriller.