On the 13th of each month, I write about a movie whose title contains the number 13.
Although it's been billed as a horror anthology, 13 Chambers doesn't feature much that could be categorized as horror, and its 13 segments are closer to formalist experiments than anything scary or creepy. Most feature no dialogue and no plot, just various images and movements meant to convey a feeling or mood, and most of those fail, evoking just frustration and bafflement. Watching the 13 "chambers" in this movie felt like watching a particularly annoying avant-garde shorts program at a pretentious film festival, and by the last few segments I had almost completely tuned out.
That made it especially tough to focus on, say, the segment that is essentially just vague shadows behind a blindingly white screen for several minutes, but even the segments with more going on are just as much of a slog, with very few exceptions. By far the best segment (and not coincidentally pretty much the only one with anything resembling a plot or characters) is Lindy Boustedt's Liminal, about a man returning to the empty shell of his former elementary school and meeting the grown-up version of his childhood imaginary friend. It turns out that the friend may not have been so imaginary, and what follows is a smart and moving exploration of alternate universes and the regrets of aging.
I couldn't find anything smart or moving or even mildly engaging in any of the other segments, all of which take place within the same decaying building and are created by female filmmakers. The site-specific nature of the project (which was actually shot in a building slated for demolition) may have pushed some of the filmmakers toward making abstract pieces that could be shot quickly without a lot of advance planning, but that's no excuse for the barrage of inexplicable images (and, as one Letterboxd reviewer notes, the surprisingly substantial amount of interpretive dance).
The fact that 13 Chambers isn't actually a horror anthology isn't a problem, although the world could use more female-driven horror anthologies. The problem is that it's not much of anything, created to fill an arbitrary mandate in a limited period of time, like a fancy version of something like the 48 Hour Film Project. Challenges like this may be good learning experiences for filmmakers, but that doesn't mean that audiences should be subjected to watching them.