Afterschool plays like a film student’s demo reel of the various ways to signify “alienation”—shallow depth of field, over-lit sterile interiors, ambient sounds of fluorescent light hums, expressionless actors, methodical tracking shots frequently overrunning or catching up to their human subjects....you’d think Afterschool’s 24-year-old first-time feature director Antonio Campos had just discovered them for himself by the way he embarrassingly assaults the viewers with them in order to fashion his astonishingly shallow portrait of teenage disaffection.
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