The last few years have seen an uptick in the number of genre films directed by women, and it’s been interesting to see the impact of that on such a traditionally male-dominated field. Directed by …
), a worldly London creative who arrives in Donegal to settle his late aunt’s estate, having inherited her home. This is his mother’s old town, but she died a long time ago and his connection with his roots is tenuous at best. On the long drive, night falls, and he calls his estranged father, who is based in Hong Kong. Out of nowhere, another car appears, and Hamish wakes up in hospital with a broken arm and no memory of what happened.
This is about as much plot as you’re likely to get from this existential thriller, which rests squarely on Jarvis’ shoulders. Since his breakout performance in, he’s proven himself as a consistently solid actor and a formidable screen presence, notably in 2019’s, in which he played a gangster’s henchman having an existential crisis.
It’s an incredibly audacious thing to attempt, and, for those up for the challenge, it largely works. Piers McGrail’s cinematography is key here, whether shooting in atmospheric wide shots or impressionistic closeups. Tom Furse’s score similarly manages to evoke Angelo Badalamenti without ever becoming derivatively Lynchian, which is quite an achievement in itself.
There are some flaws, notably in the fact that there will be more subtext than text for many viewers, but for arthouse audiences and festivalgoers there is a lot to chew on here, and some indelible images that linger in the mind. And while many of its mysteries go unsolved, there is a satisfying resolution: although the film is perhaps a little obvious in its final reveal, Campbell-Hughes does a good job of articulating the terrifying but seductive “it” that is, indeed, in all of us.
France Dernières Nouvelles, France Actualités
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