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But that shocking act turns out to be a theatrical stunt, complete with fake blood.

While she’s onstage, so to speak, it seems there are few situations Alice isn’t prepared to take in stride.

At first the former thinks tapes are being repeated of old shows she doesn’t remember doing.

But it soon becomes clear that this Lola 2.0 — an exact lookalike on an exact-replica “set” — is a separate entity and an active threat.

In fact, she barely seems to That pursuit is illustrated in terms that aren’t particularly scary, but have a frenetic drive amped up by all major visual contributors: notably Katelin Arizmendi’s busy lensing, Daniel Garber’s attention-deficit editing, Gates Bradley’s graphics animation, and Elena Lee Gold’s “custom emojis.” They create a colorful, claustrophobic world of instant gratification (or frustration) in which whatever takes place online barely has any relevance, let alone “reality.” (Even when she’s not performing, Alice is constantly glued to one screen or another.) Where this digital labyrinth ultimately leads us, and our heroine, is something of a letdown: The fadeout suggests resolution without ever clarifying just what the hell was responsible for Alice’s ordeal.

In Daniel Goldhaber and Isa Mazzei’s paranoid thriller “Cam,” an erotic webcam performer finds her followers stolen by a doppelganger who hijacks her channel, pushes the sexual envelope farther, and otherwise seems determined to destroy her life.

If horror is a reflection of the deepest societal fears of its time, “Cam” has dug into one of the 21st century’s most Kafka-esque problems — getting locked out of your account.

Produced by Jason Blum’s Blumhouse Entertainment and heading to Netflix, “Cam” stars Madeline Brewer (“The Handmaid’s Tale”) as a cam girl whose internet persona is hacked by an eerie doppelgänger.

Screenwriter Mazzei has labored in the field depicted, and there’s an undeniable fascination in the film’s level of detailed insight into how such prurient (yet generally hands-off) sex work actually operates — as well as how at-odds it often is from its practitioners’ off-cam lives.

Brewer’s committed performance etches a very ordinary young woman who may have been drawn to the field for the role-playing assumption of power and control that she’s far from owning elsewhere in her life.

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