Look 2007

The film presents a complex tapestry of interconnected stories observed through the unwavering gaze of security cameras, capturing moments from various locations such as a gas station, a high school, a shopping mall, and an office building. Over the course of a single week, the lives of different characters weave in and out of each other’s narratives, revealing both superficial interactions and deep-seated secrets beneath the surface.

One of the central characters is Tony Gilbert, played by Hayes MacArthur. He works as a manager at a housewares store located in a Los Angeles shopping mall. Tony’s behavior is a reflection of unchecked arrogance and inappropriate sexuality; he openly flirts and physically harasses his female colleagues, engaging in multiple sexual encounters with them, including Nichelle Hines’s character Lydia, in the warehouse of the store. Lydia, along with other women such as Courtney (Sarah Jane Morris), is aware of Tony’s predatory tendencies. Courtney, a new employee, immediately recognizes Tony’s history of harassment and warns Lydia, who later advises her to threaten legal action if Tony crosses the line again. Despite his womanizing, Tony’s relationships are marked by manipulation as he attempts to pursue Courtney, who firmly rejects him, citing her previous experience with sexual harassment lawsuits. This subplot underscores themes of power, accountability, and the casual but insidious nature of workplace misconduct.

Meanwhile, Marty, portrayed by Ben Weber, embodies a character plagued by a run of bad luck and social awkwardness. As a nerdy office worker, he becomes the target of relentless pranks—from spiked drinks to tampered car wheels—that push him toward the brink of emotional breakdown. His frustrations grow as his supervisor dismisses his complaints, leaving him feeling increasingly isolated and helpless. Marty’s storyline takes a darker turn when he is revealed to be the pedophile responsible for stalking Megan, a young girl he targets at the mall while wearing a distinctive blue sloush hat. The unsettling discovery unfolds as the police reveal that Marty is the culprit behind the abduction, a revelation that shocks the community and illustrates the peril lurking beneath ordinary facades.

In a more emotionally charged narrative, Ben, played by Paul Shackman, and his wife Louise (Jennifer Fontaine) showcase a family trying to maintain normalcy in a period of crisis. They install surveillance cameras to watch over their young daughter, Megan (Bailee Madison), amidst concerns about safety. The couple’s fears are confirmed when Megan goes missing, and the search unfolds in a desperate attempt to find her. The storyline becomes even more distressing when it’s revealed that Megan was approached and abducted by Marty, the office worker. Parallel to this, Ben secretly maintains a homosexual relationship with George (Chris Williams), a fellow lawyer. Their clandestine affair remains hidden from Louise, adding layers of personal and moral conflict to the story. George’s feelings for Ben are complicated—they still love him but recognize the impossibility of their relationship due to societal and personal constraints.

The movie also explores darker aspects of society, such as the story of Berry Krebbs (Jamie McShane), a high school teacher whose life unravels after an illicit encounter with student Sherri (Spencer Redford). Sherri, a high school student known for her aggressive and manipulative behavior, pretends to develop a romantic interest in Berry, eventually seducing him in his car. This intimate moment leads to legal consequences for Berry, who is arrested on charges of statutory rape after the school’s security footage incriminates him. Her accusations, initially made in earnest, are later revealed to be a manipulative ploy by Sherri, exposing her as a deceitful individual with a disturbing capacity for deception and exploitation.

Additional subplots include violent and sociopathic behavior seen through the pair of men who rob, assault a police officer, and leave a woman trapped in a car trunk in a mall parking lot. These events highlight the dangerous, unpredictable side of urban life. In contrast, an odd, minor story involves a man leaving his college textbooks behind on a bus, which is harmless but emphasizes the film’s focus on seemingly mundane incidents that have darker implications.

Throughout the film, the presence of surveillance reveals the stark contrast between appearances and reality, emphasizing themes of voyeurism, privacy invasion, and societal neglect. The epilogue montage closes the narrative by showing the consequences of the characters’ actions: Joan Krebbs gives birth while Berry remains in prison, Sherri faces expulsion, and the real culprits—the “Candid Camera Killers”—are caught and convicted thanks to community efforts. Meanwhile, Willie and Carl receive recognition for their crucial tip that led to the arrest of the killers, illustrating how even small acts of vigilance can have profound effects.

The story concludes with the unsettling reality that the house of cards built on secrets, lies, and violence continues to turn. Tony, oblivious to his own addiction, is shown happily at a drive-thru with his family, exemplifying societal ignorance. George is seen scouting for potential new connections at a gym, still unresolved in his emotional turmoil. The ominous footage of the dead woman in the trunk, along with Marty’s continued presence at work, underscores the persistence of danger and darkness lurking beneath everyday life. The closing scene, with a police officer approaching Marty—who comfortably returns to his routine—mockingly reminds viewers that evil often remains hidden in plain sight, waiting patiently in the shadows as surveillance cameras catch every fleeting moment.