起業した会社が倒産し無職となったクリス。愛想を尽かせた妻シャロンは息子を連れて出て行き、鬱々とした日々を送っていた。そんな中、シャロンがパーティーに出掛けている間に息子を預かることになる。息子が寝静まった夜、クリスは友人のエディにそそのかされ、日ごろの鬱憤を晴らすかのようにマッチングアプリを始める。最初は気分転換のつもりだったが、妖艶な美女アドラとマッチングしてから、クリスにアドラの魅力にどんどん引き込まれていく。そして、オンラインでのやり取りだけでは満足できず、彼女に直に触れたいと思い始めるが一。
R.J. Daniel Hanna’s Succubus (2024) takes the familiar hazards of modern dating apps and twists them into a slow-burn, atmospheric descent into isolation. Brendan Bradley gives a grounded performance as Chris, a stressed new father separated from his wife who succumbs to the temptation of a mysterious online match. Rachel Cook fits the title role, projecting a hypnotic presence through screens and dreamscapes that steadily pulls the protagonist out of reality. While Ron Perlman adds weight as a researcher tracking the entity, his subplot feels underwritten and leaves a few narrative threads dangling. The film relies heavily on mood, digital paranoia, and unsettling visual effects rather than cheap jump scares. Though the pacing drags slightly in the middle before reaching its chaotic third act, it stands out as an intriguing, stylishly shot cautionary tale about screen-mediated intimacy and the predators hiding behind the interface.
