Anon
Directed by Andrew Niccol
- science fiction
- crime
- mystery
- thriller
The story
Set in a near-future world where there is no privacy, ignorance or anonymity, our private memories are recorded and crime almost ceases to exist. In trying to solve a series of unsolved murders, Sal Frieland stumbles onto a young woman who appears to have subverted the system and disappeared. She has no identity, no history and no record. Sal realizes it may not be the end of crime but the beginning. Known only as 'The Girl', Sal must find her before he becomes the next victim.
What it’s like
Cool, desaturated palettes dominate Anon, with grey-blue interiors, sterile white corridors and rain-slicked streets lit by the flat glow of screens and overlays. Camera work is measured and procedural: steady medium shots, over-the-shoulder views of heads-up displays, and the wet, slightly cold textures of a city where every surface seems to be recording. Sound leans on a restrained electronic score with long stretches of ambient hush, so the quiet feels watchful. The vibe is clinical unease, a sleek paranoia that suits a late night alone or a slow weekday evening when you want tension without noise. Pacing is deliberate, building through interrogation-style conversations and investigative legwork rather than chases. Its emotional register is cool and somewhat detached, following a weary detective slowly drawn toward someone who exists outside every system he trusts. Violence is occasional and fairly restrained, with a few sudden, unsettling moments and some murder-investigation content, but no sustained gore and little sexual content. It suits viewers who enjoy speculative thrillers about surveillance and identity, and who like a puzzle-driven mystery with a moody, sci-fi chill.
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