故事是这样的：临近圣诞，一位年轻女子邀请昔日好友做客，试图重拾过去的亲密。她发现自己的私人空间正被陌生人一步步入侵，通过科技追踪、邮件操纵和威胁，对方试图在极端环境下瓦解她的心理防线，夺回她视若珍宝的控制权。对于喜欢慢节奏生活流电影，或者是在都市生活中感到情感失语、渴望看到平凡人性如何通过细微互动去修补关系的观众来说，这部电影里的每一帧都很有代入感。导演海曼偏爱手持摄影带来的呼吸感，近两米的特写镜头让演员脸上的细微表情都无处遁形，而刻意保留的镜头晃动强化了这种窥视的压迫感。片中没有那种大开大合的表演，更多是靠眼神交流和细腻的肢体接触来传递情绪。哪怕生活一团糟，她们依然选择去爱、去信任、去重新开始。

Two codependent best friends become addicted to the heroin-like touch of an alien narcissist who may or may not be trying to take over the world.
　　Writer and director Addison Heimann’s second feature film is provocatively comedic, inventive, and insane in the best possible way. An ode to the deliriously stylistic lens of Japanese cinema in the ’60s and ’70s, Touch Me dares to “go there” with its themes of mental health, desire, and Hentai-infused sexual abandon. Olivia Taylor Dudley sinks into character to portray a fractured and wandering human being in desperate need of a life-affirming touch, while Lou Taylor-Pucci’s tracksuit-clad alien persona is played to delightful perfection. Jordan Gavaris and Marlene Forte round out an impeccable cast of far-out characters who manage to be at once acrimonious yet relatable. The end result is a weird, wild, and frenzied fever dream with so much to unpack. While we may not be able to relieve ourselves of self-doubt, deep-seated childhood trauma, and debilitating anxiety with the simple touch of an extraterrestrial being, maybe life isn’t so bad after all?

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