That's how Carolyn Pickles succinctly and economically explains 'pareidolia', the trick of the mind which forms familiar images out of the abstract as your ever-industrious braincells attempt to make sense of the world around you. Another character refers to human protective instincts and how we are conditioned to spot evil even when it may not be there - for example, if a caveman thought he'd seen a menacing feral feline beast about to pounce from a tree limb, he'd turn and run, not looking back to even consider whether the creature was illusory.
Director Aaron Truss and his scriptwriter dad Aiden have brought these primal fears screaming into a modern setting in a truly unsettling short movie, based around the titular concept, which will disturb you via its stunning sound design (please do experience this under the most souped-up hi-tech sonic conditions you can) and its remarkable ability to have you simultaneously focusing on the scary unfolding drama while searching all around the frame, wondering whether that blurry beer pump in the background or a combination of shapes on a wall or a bit of machinery might just resemble a taunting or dangerous face.
Producer Stuart Morriss has specialised, in the recent past, in reviving the careers of old telly and cinema favourites from decades long gone - and in less skilled hands this approach can sometimes feel like mere stunt casting or a sad reflection of former glories, but you can always tell that Stuart works his players hard, and that they respond in turn, clearly appreciating being presented with meaty and significant roles, 'something to get your teeth into' as opposed to a simple gimmicky walk-on and a couple of seconds of fleeting audience recognition. The likes of Pickles, Graham Cole, and Diane Franklin grasp the chance to impress one more time, and throw themselves into giving their all and properly enhancing the production. Younger viewers for whom the sight of these old stagers may be meaningless might instead just wish to ask how frightening 'Pareidolia' is, yet even they will satisfyingly discover that it holds its own alongside the best and more expensive/expansive shockers that Hollywood or Netflix are currently offering.
