Koel Purie has a nice blithe presence. Very unusual, post-modern, in-your-face and full of attitude—something which can be made to work very well on the silver screen, in the niche film circuit for sure. Unfortunately, White Noise does not prove to be an adequate stage for her. In many ways, the film uses her too much, wrenching emotions out of her in every frame, making her move from one intense moment to another. So much so that in the one-and-a-half-hour-long viewing you start asking for a break, for her sake, and your own as well.