Chloe is clearly an intelligent young woman, as evidenced by the many complex engineering projects she works on in her bedroom, and she would seem to have a bright future ahead of her. Mom also cooks healthy meals with the vegetables she grows in her own garden. (Casting a disabled actress for this part also makes Allen an excellent choice.) This includes medications and physical therapy but also hours of homeschool, which Diane administers. Seventeen years later, we see Diane living an extremely organized but seemingly happy life with her daughter, Chloe (Allen), who runs through her daily routine from her wheelchair. She’s just given birth to a tiny baby who arrived prematurely, and a title card lists a variety of illnesses including arrhythmia, asthma and diabetes. With echoes of the Ryan Murphy series “Ratched,” we see Paulson’s Diane Sherman at a hospital where everything is bathed in a sickly green light. “Run” begins, though, in a quietly harrowing way. As if performing opposite one of the greats working today weren’t daunting enough, “Run” asks a ton of Allen in a physically and emotionally arduous role, and she’s up for every challenge. But the great discovery of “Run” is Kiera Allen, making her feature film debut. Her technique is so specific, and she keeps you on edge with just the slightest facial expression or unexpected line delivery. We’ve seen Sarah Paulson do this sort of simmering-beneath-the-surface insanity for years, but it’s always chilling to watch. And even as things get a little nutty by the end in a way that deviates from the quiet, slow burn that came before, the performances in what is essentially a two-hander always remain gripping. With just their second feature, director Aneesh Chaganty and his co-writer, Sev Ohanian, expand the scenery but maintain the same tight narrative focus.
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