Films that confine their actions to deeply constrained locations are always exploiting the claustrophobic nature of the theatrical space itself. Whether they are caught in a submersible (Pressure, 2015; The Chamber, 2016), a lift (Abwärts, 1984; Blackout, 2008; Devil, 2010; Elevator, 2011), a sauna (247℉, 2011), a phone booth (Phone Booth, 2002), on a funicular…
