By Danail Mihaylov
What is the most disturbing, or even inhumane way to confront the biblical concept of the seven deadly sins of pride, greed, lust, envy, gluttony, wrath, and sloth? Director David Fincher has found the answer in Se7en, his 1995 film that has become one of the most distinguishing crime thrillers of its time. With Brad Pitt playing the impulsive young detective Mills and Morgan Freeman as the wise veteran detective Somerset, this isn’t just an ordinary detective story. Instead, it is a far deeper journey, exploring the dynamics between urgency and patient wisdom.
The narrative follows the two detectives as they chase a killer who appears to be selecting his victims based on the seven deadly sins. Each crime is designed to reflect the victim’s respective sin, but it is twisted into a hideous and inhumane punishment. Meanwhile, each murder sends a twofold message to the victim and society, brutally proving a point about sinful human nature. As the detectives work through each case, the killer seems to be building a personal connection with them. Rather than evading capture, the criminal seems to be inviting them into his world.
As they progress through the investigation, we notice the development of each detective. While Mills approaches the investigation with energy and anger, often acting before he fully thinks things through, Somerset possesses a measured sense of control, exercising caution and careful expertise. With each new discovery, the case feels more complex and almost impossible to solve. What really causes the narrative to stand out, however, is that the mystery isn’t really about who is committing the crimes, but why they are committing the crimes. Viewers are left to ponder what the answer has to say about human nature and morality. At the same time, the audience is almost put in a position to pick a side, as some may even find themselves oddly intrigued by the killer and the precise, calm way in which he targets those who are generally considered “bad people.”
Like in Fincher’s later projects, such as Zodiac, Se7en’s plot is bursting with detail. Every crime scene and the details surrounding it – clues, dialogues, and imagery – not only feel very disturbing, but they can even be difficult to watch. Indeed, the film’s attention to darkness does not stop with murder. The way rain constantly drenches the city creates a claustrophobic feeling that the detectives cannot escape the killer and his deeds. This idea is further developed later on, as their personal lives start becoming intertwined with the case.
As the murders continue, Fincher gradually gives the audience fewer details about the killings, yet each new crime feels increasingly more bizarre. Early on, we see every disturbing element of each crime. For instance, in the gluttony-related murder, every aspect of the crime is depicted and explained in great, almost clinical detail. But as the film moves forward, the later crimes are revealed with far less explicit imagery, leaving much more to the viewer’s imagination. This approach makes the final acts of violence even more unsettling, because what is not shown becomes even more horrifying as the mind fills in the gaps. The famous “What is in the Box” scene is the ultimate example of this motif, holding incredible emotional and narrative significance. It embodies the pinnacle of the psychological battle between the detectives and the killer, while capitalizing on the film’s themes of morality and the consequences of obsession—all without needing to rely on graphic display.
While this review comes decades after Se7en was first released, the film’s reputation remains strong. At the time, it was not an immediate cultural phenomenon, even though it grossed over $300 million worldwide. Many filmmakers would later try to replicate Fincher’s distinct style and the movie’s tense, oppressive atmosphere, but few succeeded. Today, the line, “What’s in the box?” still hangs in collective memory, haunting cinema lovers everywhere.
The Judson Mosaic 