While I was taken away by the editing and the music of this film my brother David Salazar found "Krisha's" script to be the real emotional drive of the film. Read his analysis here.

When "Krisha" premiered at the SXSW Film Festival last year, audiences gave the film standing ovations. Critics hailed it and director Trey Edward Shults for the film's compelling storyline. Indeed, the film's directing and acting as well as its script are compelling, but the movie's innovative editing is what really stands out and what creates the immerive experience.

Shults Delivers Tension Through Space, Cuts

The director, who has worked with Terence Malick in the past, clearly took a page from his mentor's hypnotic editing style. Shults created a film that puts audiences on edge from the start.

The film begins with a long tracking shot of Krisha (Krisha Fairchild). The camera moves behind her, following her every movement, as she looks for a house. In many ways, there is a sense of liberty in this first shot, as the title character is the one controlling the direction of the camera. However, once she enters her sister's house, Krisha passes alternately through spaces that are either overwhelmingly giant or extremely claustrophobic, like the kitchen, her room and the bathroom.

As the film progresses, the cuts are quickened. Shults goes from long takes, as in the conversation Krisha has with her son, to fast cuts and jump cuts.

One such sequence takes place in the kitchen, where Krisha is making the turkey for a Thanksgiving dinner. Shults decides to showcase Krisha in closeups. The director creates a cluttered space and emphasizes her discomfort by adding fast cuts. He also adds another element through constant whip pans from one person to another. The style emphasizes the pressure Krisha is under, as she tries to create an image she is not ready for.

Intercutting, Music Present Krisha's Mindset

Additionally, Shults decides to intercut Krisha's conversations with diverse activities. While she is talking with Doyle (Bill Wise), her brother-in-law, Shults continuously cuts to others cooking, watching TV or arm wrestling, creating a very vicious and off-putting effect.

It is as if Shults is trying to put his audience in the head of Krisha. On the one hand, there is a civilized Krisha who is trying to make amends and have peaceful conversations. And on the other hand, there is a Krisha who can quickly fall to her addictions and into violence.

The editing is further emphasized by the incredible music by Brian McOmber, who uses dissonant chords to emphasize the off-putting setting. The arpeggiated rhythms also supplement the brilliant whip pans throughout the film. The overall effect is a dizzying one, brilliantly delivering audiences into Krisha's mind.