Katsoupis and Hopkins critique the world of art collectors and how it has become a race for possession without regard to how or why the art is made. Here he is surrounded by many beautiful and expensive pieces of art, yet what he longs for is a connection with another human being. Asked what he’d save in a fire, he responded with his most precious possessions. In voiceover, repeated a couple of times, Nemo recalls an exercise he was put through as a child in school. They are aided by the bold stark lighting of Steven Annis’ camera and the open aseptic space designed by Thorsten Sabel, which eerily represents a cage. Katsoupis, collaborating with Ben Hopkins, has devised a clever way to examine the world of art collectors. Before long he realizes that his cohorts are not coming to save him. As he looks around the vast space, inspecting the many pieces of art, the security system malfunctions. Nemo’s there to steal a valuable Egon Schiele portrait which he can’t immediately locate. The few pops of color come from the art on the walls. Its colors are monochromatic in a mostly bluish hue, there’s an indoor pond and plants that look plastic. The camera slowly reveals the apartment as an expensive and impeccably designed but sterile abode. It’s clear they hacked into the apartment’s security system. He’s connected to someone on the outside via microphone. He is first shown breaking into a high-tech Manhattan apartment. In “ Inside,” director Vasilis Katsoupis provides him with a showcase part in what is essentially a one-man show that Dafoe carries with aplomb.ĭafoe’s character is an art thief named Nemo. Whether he’s playing Christ, Antichrist or somewhere in between, there’s always something slightly off that makes him watchable. What can be counted on is that he’ll add a dash of idiosyncratic malevolence to whatever part he’s playing. He appears in blockbusters and arthouse films, in lead roles or as part of an ensemble.
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