I Can See You

In an infomercial, Mickey Hauser, Larry Fessenden, a charismatic spokesperson for Clara Clean Corporation, extols Claractix, a cleaning product that promises dazzling results and a cleaner, shinier future. The glossy promo collides with hard news when Ben Richards, Benjamin Dickinson, struggles to finish a portrait of a man in a suit—the face stubbornly remains blank despite multiple attempts, a visual echo of the corporate facade wavering under pressure. After these moments of creative block, Hauser’s death is reported in the media, and Clara Clean becomes ensnared in an ecological scandal. Richards and his coworkers are pressed into crafting an ecologically themed advertising campaign to counter the fallout, but Doug Quaid, Duncan Skiles, refuses to rely on John Kimble’s stock photography as a solution, signaling early friction within the team. Ben proposes retreating to a campsite in Delaware to seek inspiration and capture their own authentic photographs. Meanwhile, Sonia Roja, Olivia Villanti, is informed by her boss that her boyfriend, Kimble, Christopher Ford, has one week to deliver a fantastic campaign, or Roja will absorb the blame. Quaid doubles down on the demand that the campaign must be truly exceptional, heightening the stakes for everyone involved.

The group heads toward the Delaware campsite, and on the road Kimble receives an invitation to a barbecue from Ivan, hinting that a mysterious guest will be present but unwilling to say who. At the destination, Quaid’s bravado overshadows his charm as Roja remains more captivated by her cellphone than by any flirtation. Richards begins taking photographs, only to see every frame come out distorted, a troubling sign that something is off with their project—and perhaps with reality itself. At Ivan’s barbecue, Richards spots Summer Day, Heather Robb, an old acquaintance he once had a crush on, and, encouraged by Quaid, he rekindles the attraction. They wander into the woods together and share a kiss, though Richards later tells Quaid they did not sleep together. The next day, Richards and Day swim; Quaid teases him about going into the water with his glasses on, prompting Richards to remove them. Without his glasses, his vision becomes blurred and unfocused, turning a simple conversation into a stumbling exchange as Day wanders off with Quaid.

Back at the camp, Kimble brushes off Richards’ concerns about Day and Quaid’s absence, while Roja insists that nothing is bothering her. Kimble urges Richards to take more photographs, yet the new shots are still distorted. Hauser critiques Richards’ photography and suggests the lens may need cleaning, a practical fix that contrasts with the escalating paranoia. Disturbances—camera failures, unsettling hallucinations, and a growing sense of danger—drive Richards to return to the camp and enlist a reluctant Kimble to help search for Quaid and Day. They push through the forest and uncover Day’s underwear, a smear of blood on a rock, and a memory card, but there is no sign of Quaid or Day. They return to camp, where Kimble’s laptop suddenly malfunctions and destroys the memory card’s images. Roja complains of eerie voices and strange forest sounds, but Kimble remains skeptical, and the group finally falls asleep.

Richards experiences a dreamlike sequence in which a musical number appears to be performed by Quaid and Day. He wakes to find Quaid back at the camp, disoriented and manic. Roja stays close, and Kimble and Richards conduct a quiet investigation of the camp while Roja calls for help. Quaid bolts into the forest, and Richards gives chase, discovering blood on Quaid’s hands in the dim light. Quaid runs off again, and Richards eventually finds his body at the bottom of a cliff. Hauser reappears, urging Richards to take a second look at the cliff—this time without his glasses—and Richards complies, throwing the glasses away. He is then confronted by a corpse-like Day, whom he cannot focus on. The hallucinations deepen, and when he returns to the camp, he discovers that Kimble has murdered Roja. In a brutal, surreal turn, Richards gouges out Kimble’s eyes, opens his skull, and extracts a serrated knife from within. The visions intensify, and he finally cuts out the face from his father’s portrait, leaving the scene drenched in tension and ambiguity as the line between perception and reality remains dangerously blurred.

Last Updated: October 09, 2025 at 09:33