Film Review: ‘1001 Frames’ Is An Effective and Disturbing Psychological Thriller

1001 Frames is a psychological thriller and experimental mockumentary set entirely in a minimalist movie casting call in Tehran. The film follows aspiring actresses auditioning for a role, only to realize the unseen director has darker, predatory intentions. It is the feature directorial debut of Iranian-American filmmaker Mehrnoush Alia and is partially based on the experiences of an actress friend of Alia’s.

Based on Alia’s 2015 short film Scheherazade, 1001 Frames is an effective, increasingly uncomfortable thriller that grows more unsettling as it progresses. There is no story in the conventional sense, as the film focuses almost entirely on the progression of a series of auditions, but the gradual escalation of tension gives the impression of forward movement. The film is less interested in plot than in observing behavior, particularly how people respond when placed in situations where boundaries become unclear.

Each actress auditioning differs in demeanor and in how they respond to the off-screen director’s advances, but they are all uncomfortable in their own way. The director character does not initially present himself as openly abusive, but he consistently pushes past reasonable limits. From the outset, his intentions seem questionable, though the film avoids portraying him as overtly monstrous in a simplistic way. Instead, it presents someone who manipulates vulnerability through authority, patience, and ambiguity. That restraint makes the interactions feel more recognizable and difficult to dismiss.

The film also benefits from performances that feel unusually naturalistic. Many scenes unfold with an awkwardness and hesitancy that resemble real conversations rather than scripted exchanges. At times, I questioned whether the film was actually a documentary. I would not be surprised to learn that portions were heavily improvised, because the actors rarely seem to be performing in a traditional dramatic sense. The women auditioning feel like distinct individuals rather than representative archetypes, and the film gives enough variation in their reactions to avoid repetition despite the intentionally limited setting.

Visually, the film remains simple and controlled. The confined environment reinforces the feeling of emotional pressure without relying on dramatic cinematography or stylized editing. Because the audience never fully sees the director, attention stays fixed on the actresses and their reactions. The decision to keep the camera focused primarily on faces and body language becomes central to how the tension is built. Small pauses, expressions, and changes in tone carry more weight than major revelations or twists.

My only issue with the film is its ending, which I feel partially undermines its messaging. That said, this is a minor flaw in an otherwise focused and thoughtful film. 1001 Frames is an engaging exploration of power dynamics within the entertainment industry, though its themes could easily apply to many other professional environments where authority and vulnerability are at play.