Some people do insane things to promote the value of an idea. For political and social paradigms, though, shifts often come reluctantly and almost always begrudgingly. Changing the establishment, whether in government or elsewhere, requires the existence of certain extraordinary circumstances whereby the instigators possess singular vigor in attaining the desired purpose. Ideology, in a word, manifests itself as the linchpin that triggers a cause. But what of the individuals who spur the movement through action?

Julia Loktev, in her mesmerizing second film, gives us a rare and somewhat fleeting glimpse through the portal of dedication and self-sacrifice in “Day Night Day Night.”

The Russian born Loktev, no stranger to violence wrought in the name of change, focuses on the 48 hour period leading up to her main character’s ultimate act of subservience. Luisa Williams is striking in her film debut as the unnamed young woman who is to act as a suicide bomber in Times Square. What sets this film apart from others is its remarkably focused look at the face behind the otherwise unknown name of a quiet killer.

Loktev goes to great lengths to avoid confrontation or controversy with a subject matter that might be considered touchy to some. By the time the film opens the fate of our main character (can I call her the protagonist?) has already been decided. Absent are arguments of cause, ideological debates, or even group affiliation. Indeed, we know not what with regard to motivation, religion, or political partisanship. Instead, we are left with the girl’s thoroughly maintained existence by the hand of her keepers and the cognitive dissonance that justifiably accompanies her during every minute of these final hours.

The filmmaking process, full of manic hand-held cinematography, limited dialogue, and no music, captures the taut yet fluid atmosphere that one might expect from a war film in which the good guys have no chance in the hopeless final battle. The difference here being that Loktev’s vision is more in line with the Italian Neo-Realism films of the 1940’s which featured non-professional actors in ordinary, everyday circumstances that were made epic through various mitigating factors. The girl seems relatively “pedestrian” while eating egg rolls, pizza, and pretzels. Her willing captivity in a cheap motel room is made dramatic when her masked accomplices indoctrinate her with false identities, photograph her with a rifle in front of the group’s insignia, and place a fifty pound backpack rigged with explosives on her back.

Interesting it is that the young woman undeniably draws sympathy from those around her. Loktev is so convincing in presenting the nuances of this girl that she almost dares the audience to root her on. Indeed, the careful preparations made for her, not to mention the exhausting mental anguish through which she suffers, all but creates an enabling sentiment; almost as if we want her to succeed because she deserves it. Until, that is, we see the thousands of innocent people mulling about the bustling New York sidewalks. Anxiety mounts as a sort of conflict of interest emerges in the third act. Her success means that these people will die. In creating this dichotomy, Loktev raises a plethora of sociopolitical questions that revolve around the fact that drastic decisions affect us all in one way or another whether we are actively seeking change or merely going about living our lives.

Chris Virnig