I Can See You

Hauser dies, triggering public reports of an ecological scandal involving Clara Clean. In the wake, Richards and his coworkers are recruited to create an ecologically themed advertising campaign. The tone shifts from an infomercial to crisis management.

Richards and the others decide to seek inspiration away from the studio by visiting a Delaware campsite. They aim to take their own photographs to spark the campaign. The trip marks the beginning of the shifting, surreal sequence of events.

Roja's boss informs her that her boyfriend Kimble has one week to craft a fantastic ad campaign or Roja will take the fall. The pressure adds tension to the creative sprint. Kimble's deadline becomes a ticking clock in the background.

On the way, Kimble receives a call inviting the group to a barbecue hosted by Ivan. He hints that a mysterious person will also be there, signaling the onset of uncertain, uneasy occurrences. The invitation foreshadows the next social distraction.

At the barbecue, Richards' photographs distort, hinting at camera trouble and blurred perception. He notices Summer Day, an old crush, and they reconnect with a warm embrace; the pair retreat into the woods where they have sex. Later, Richards denies to Quaid that it happened.

The next day, Richards and Day go swimming; Richards removes his glasses, further blurring his vision. Day wanders off into the wilderness with Quaid, leaving the rest of the group uneasy. The disappearance sharpens the sense of danger and confusion.

Kimble dismisses concerns about Quaid and Day not returning while Roja denies the tension. Richards continues to shoot photos, but the images remain distorted. Hauser critiques Richards' photography and suggests the lens may need cleaning, highlighting the camera's failing as a metaphor.

Disturbed by the camera's malfunction and his own hallucinations, Richards convinces Kimble to search for Quaid and Day. They uncover Day's underwear, blood on a rock, and a memory card, but find no sign of the missing pair.

Back at camp, Kimble's laptop malfunctions and the memory card's images are destroyed. The group's evidence collapses, deepening the sense of paranoia and unreliability of what they see. The technological failure mirrors the breakdown of trust.

Roja complains of eerie sounds and voices in the forest; the others dismiss her. Richards experiences a strange dream or vision involving a musical number with Quaid and Day. The boundary between dream and reality continues to blur.

Quaid returns to the camp in a disoriented, manic state, prompting Roja to watch over him while Kimble and Richards check the camp. Quaid bolts into the forest, prompting a frantic chase.

Quaid is found dead at the base of a cliff after a frantic pursuit; Hauser tells Richards to reexamine the cliff without his glasses, and Richards discards his glasses. The moment marks a disturbing shift from pursuit to fatal consequence.

A corpse-like Day materializes, and Richards struggles to focus. He returns to camp to discover Roja murdered by Kimble, intensifying the sense of betrayal and collapse of reality.

In a brutal, hallucinatory fit, Richards incapacitates Kimble by gouging his eyes and removing a serrated knife from Kimble's head. The act deepens his descent into chaos and vengeance.

Still overwhelmed by visions, Richards cuts the face from his father's portrait, sealing his transformation into a distorted, dreamlike state. The scene underscores the film's unreality and psychological unraveling.