In a story about a different drama and action where burglary occurred in a drawing room. During that incident the assistant became a hero when the thieves opposed, but in the end the painting was missing. Maybe all the people will be dazed and all the eyes flowing on him to find the painting, but he can not remember anything. In the end, the hypnotist is called to solve the problem that seems controversial.
Trance is to Danny Boyle more or less as Side Effects was to Steven Soderbergh: an arty spin on a trashy B-movie, engineered to showcase the director's particular gifts.
The plot of Trance is purposely convoluted - you're supposed to get more and more confused as the story unfolds, not always sure if what you're watching is a dream.
It's a deliriously head-spinning exercise in light and sound, attacking the audience's senses while spitting in the face of linear storytelling, smiling all the while.
Dawson walks through this film with majestic confidence while McAvoy is constantly inches from a full breakdown. And Boyle keeps that tension mesmerizing.
In the first half I was definitely invested in what was unfolding, but couldn't believe by the end that director Boyle could deliver something so ham fisted and clunky.
It's not that I don't think Boyle knows, by the time things start to get really bananas in the second half, that his movie is silly. I'm jut not convinced that he ever decided how he felt about it.
Trance is high-order, film noir nonsense that takes Boyle back to the thrillers he made at the start of his career with John Hodge (he wrote Trance, too), like Shallow Grave and Trainspotting, that were preoccupied with the grimy corners of the psyche.