Directed by Albert Shin
Written by Albert Shin and James Schultz
Starring Tuppence Middleton, Hannah Gross and Marie-Josée Croze
Running time 1 hour, 40 minutes

by Fiona Underhill

Filmmaker Albert Shin has returned to Canada for his third feature film Disappearance at Clifton Hill, after making the acclaimed In Her Place (2014) in South Korea. He has assembled something of a who’s who of Canadian film-and-TV talent in supporting roles around British actress Tuppence Middleton in the central role of Abby. There is Hannah Gross as Abby’s sister Laure (probably best known for Mindhunter and for being the daughter of Canadian royalty Paul Gross – Benton Fraser from Due South), Noah Reid as her mustachioed husband Marcus (Patrick from Schitt’s Creek) and even David freakin Cronenberg as local conspiracy theorizing podcaster Walter. Abby witnessed a child kidnapping as a young girl, but always struggled to get anyone to believe her. The story raises its head again when she returns to her hometown of Niagara Falls (on the Canadian side) as an adult. She again sets about trying to persuade her sister and the cops, including Singh (Andy McQueen) that it really happened, but she now has a reputation as being somewhat unreliable and potentially even being a compulsive liar.

Like most British actors, Tuppence Middleton has appeared in many period dramas, including The Imitation Game, War and Peace, Dickensian, The Current War and the Downton Abbey film. It is her role in the 2013 version of The Lady Vanishes that has the most parallels with the character that she plays in Disappearance at Clifton Hill, as it is ambiguous as to whether Abby is being gaslit or if it is she who is doing the gaslighting. Middleton is reliably excellent here, treading a delicate balance between unhinged obsession and desperation at times, but also hinting at a murky past of her own. Films with unreliable protagonists are always interesting and it is good when the story keeps you guessing as to who you can trust. The plot is a convoluted one, involving a pair of magicians “The Magnificent Moulins” - who have a show that uses a tiger. It is their son who is at the center of the mystery – the official version is that he killed himself by throwing himself into the river - but Abby believes there is more to the story.

The greatest strength of Disappearance at Clifton Hill is the setting in the town of Niagara Falls, which is like a smaller version of Vegas or Atlantic City. Abby is trying to save the Rainbow Motel that she and her sister grew up in, but is now very much run-down and falling apart. Walter conducts his podcast under a space-themed restaurant and the kitsch locations are one of the most appealing aspects of the film. It is delightful to see Cronenberg acting, something he clearly does to support his friends in the Canadian film industry. He has a surprisingly large role here, definitely more-so than his cameo in Viggo Mortensen’s Sundance 2020 film Falling. The setting contributes to the noirish atmosphere well, as does the score by Alex Sowinski and Leland Whitty, which contains jazzy saxophone combined with electronica. The production design by Chris Crane of the various motels, casinos, diners and the Lake Mansion (home to the local shady millionaire family) helps build up the detailed but faded stuck-in-the-past feel of the town.

The cinematography by Catherine Lutes (who also shot Patricia Rozema’s fantastic Canadian film Mouthpiece) helps delineate between the grey, washed-out look of the town during the day and the autumnal scenes that take place near the gorge where the disappearance happened. There is much use of sickly yellow, orange and browns in the lighting and design of the interiors, as well as in Abby’s costumes which also aids the sense that things in this area are old, broken and past their best.

The twisty plot can spiral out of control at times, including a ridiculous scene that takes place in a Haunted House. It can also occasionally feel a little slow and labored, but there is just enough going on to sustain the interest of the audience. Having a woman at the center of a narrative in which she is questioning the truth and perhaps her own sanity is a popular theme at the moment. Indeed, having Disappearance at Clifton Hill, Leigh Whannell’s The Invisible Man, Kitty Green’s The Assistant and even comedy Downhill (from Nat Faxon and Jim Rash) all in the theatres in the week or so following Harvey Weinstein’s rape conviction almost feels on the nose. It would, of course, be good to see more women in command of these narratives. Getting to see any entry into the modern noir genre is a positive and encouraging thing, with Disappearance at Clifton Hill joining the likes of Gemini, Destroyer and Out of Blue (all of which had women protagonists) from recent years. However, it is interesting to see a noir not set in typical cities like Los Angeles or New Orleans but in the unusual setting of the faded glamour of the casinos of Niagara Falls. This film is worth watching for Middleton’s compelling central performance, the intricate plot and the well-designed and shot retro locations.

In select theaters and on demand February 28