YOU GO TO MY HEAD is an intense psychological thriller following an amnesiac, Dafne (Delfine Bafort), and Jake (Svetozar Cvetković), the man who rescues her and convinces her that they are married. Everything is idyllic until Dafne begins to get her memories back, and hint after hint of dishonesty is uncovered.
Director Dimitri de Clercq created the character of Dafne specifically for actress Delfine Bafort. And while there aren’t all that many characters to begin with, Bafort steals the show by not only embodying an amnesiac character, but also growing her on screen simply from the information her “husband” has given her. Growing enough to seemingly keep some of her own secrets.
Perhaps the most notable aspect of this film is its chilling score and the important role it plays. There isn’t all that much dialogue and in its place as the main tool of narration is the music itself. Composed by Hacène Larbi, the combination of strings and drums is an overwhelming non-verbal scream at the audience, as well as Dafne – “RUN!”. The music pounds and scraps and claws at your insides until you are completely on edge and immersed in this game of desire and deceit.
Most of the colours used throughout are quite minimalistic – such as the sand and the white interiors – but one use of colour stands out. The violent use of red. The red contrasts aggressively with the beiges and whites, which is the desired effect, as the use of red seems to represent danger. It is this, when accompanied with the score that sets the tone in such a dark direction, even from the very beginning.
Only natural lighting was used throughout the production process which clearly was an excellent decision considering just how beautiful each shot actually is. The lighting works perfectly with the breath-taking settings and the meticulous framing of each scene.
For many instances in the film, the camera follows and watches Dafne, in a very voyeuristic way that makes the audience her captors. This is unsettling as there is always that eerie sensation of not only being watched, but of being the watcher. Another stand out moment is around mid-way when stills are used briefly in place of moving image, this is done to seemly capture the idealistic, “photo-like” moments between Dafne and Jake, pointing out that each and every one is fake and constructed.
YOU GO TO MY HEAD is a thrilling tale of lies and longing that will have you overcome by the end.