Writer and Director Stephen Fingleton, 2015, Ire/UK, Cert. 18. Duration 108 mins. Cast. Martin McCann, Mia Goth, Olwen Fouéré and small plot parts by Andrew Simpson and others.
Entering a Bleak New World
This film was seen with a following q/a with Director Stephen Fingleton, so I begin with an early insight. I had noticed the beginning which is a flashback was a desaturated introduction and then some colour entered although barely making a difference – it was a subtle shift intentionally, confirmed, placed as an indicator distiquishing the following of the flashback as we are taken on a tension filled journey around the environs of a forest in which Martin McCann lives in a wooden shed with corrugated tin roof and among contemporary utensils with a make piece bed and shelving. He is completely on edge. He, despite the period he has been here, (more on that and the story later,) he is still vigilant and carries a two bore musket which is highly serviceable and he also has what might be a shortened Bowie knife. He is a figure like any frontiersman, hunting daily and without language could be in any forest of the clement kind. Every day requires the same clarity as the day before. It is a relentless anxiety. He is what the French call on the qui vive, on the alert; watchful, and he is his own guardsman with a weather eye for trespassers. Twenty or so minutes pass as we become immersed and familiar with the scope, limited, claustrophobic and insular with little or no awareness of the eight mile horizon which is unseen. Tension is racked up continuosly and his isolation is set.
There are few films like this around. There are very few people in it. The world the film exists in is a vision of what may transpire beyond a meltdown of our own planets occupation and making, of humans diminishing swiftly and on a downward slope as far as population is concerned. At the beginning was the word and our planet became one on which mankind foraged and survived across land bridges moving out of areas cut off by the ice age into territories both unfamiliar and unpracticed means of acquiring the nutrition needed to live. Ireland was a desolate place once and a fusion of two tectonic plates hence the bog land down its centre. It gave up its forests once occupied for fuel, land, reclaimation and settlement.
The formula, premis is Fingleton coming down on the Collapse side (see obtain the 571 page Jared Diamond book of the same name at cpor.org › Diamond(2005)Collapse-How…) as it is unfolding and clear before 1985 or even earlier we crossed the threshold of planet debt. Stephen Fingleton has the Ulster cynicism gene imprinted meaning his vision is of a collapse scenario. Again I also believe he does not close off a route to recovery, for that is what it shall entail. The best potential for this would be total worldwide empowerment of women which he accepts is one part of the answer. (see also the Chris Martenson book The Crash Course from 2011 and updates for a wide analysis,)
I attended a talk a day after seeing this which was a concise and very well spelt out analysis with it coming down on the less but ultimately more challenging thought of redress and reining back through advances in population control a lot of which depends on the equality across all nations of women thus could alter the course which would find its level below the present. 10,000 babies an hour added to today’s population. See http://www.garvincrawford.co.uk for a copy of the longer version. The talk will soon be on YouTube.
As illustrated in The Revenant it is very probable the Native American Indian came via. a land bridge along with, as my past review of it raised, their Appolossa horses. A recent documentary underpins this colossally and with little naysaying, that the Appolossa horse originates, in the time scale of man utilising and forming nomadic connections with, in Kyrgstan and bordering China were they were also plentiful. To survive there as here required a broad range of skills.
Huge Narrow Scope
The film begins with a rolling line red and blue signifying population advancing almost vertically come the era of the industrial revolution. Director Stephen Fingleton then takes his projection of the future as a story, not to say prophecy downward on that trajectory. Enter the externals, a bit like Margaret Atwoods externals which I later raised with him and he affirmed saying it was a massive influence in writing the story. There in The Handmaids Tale, read in several different contextual ways all valid, there is a ‘safe’ world where outsiders are used as numbers and for particular functions and within the confines of the ruled ‘safe’ world there are sexual tasks to achieve a continuing product of babies and assist the stability of the Survived. In the final third others appear as do ghostly reminders of the past. They serve anonymously to underpin the disease of destructive urges prevalent in hopeless states. One hand to hand fight is another crossing point.
Meanwhile as is supposed in The Handmaids Tale, there are implied wars existing on the outside and all manner of danger is around. It is this exterior our characters of a near future period exist within. For eight years back we are shown in the opening sequence the demise of the brother to brother union and the sacrifice made to survive and then the present post collapse being now what liberals call the new normal is some eight years on in a shed, (it happens to have entirely been filmed in North Antrim and the entire sound track dubbed, itself a very definitive choice. The soundscape is raw and as light has a surreal incandescence, sometimes beguiling and bewitching the mono soundtrack – there is only one speaker front and central, used in the film performance – a simmering engulfing detail landscape of sound is slowly raised out of the bed of the earth. No music is used either. Only a found harmonica and Miljia playing with sound as percussion to show her interior listening heart is conveyed.
Being on guard is for the good reason he is not and cannot be alone. Someone will come and an encounter happens one day in daylight and he is inside when he hears noises and immediately drops the door bar and locks. He looks through a tin reflective enough to be a mirror and hazy figures, two women appear to be standing in the middle of his vegetable plot.
Women of Persuasion
Opening the door he sees two women, both on the limits of starvation. They are mother and daughter, Kathryn and Milja played by Olwen Fouéré whose striking features of long white hair lean body and softly matured face articulate a knowingness and Mia Goth her screen daughter of an age barely into womanhood. Her wildness, like the orphan in Les Miserablés and emerging sexuality, her lanky angular awkwardness is open and forming a response to what she sees in this world they now live in. One where starvation is the norm, where violence happens. It is where the trees plants flora and fauna are surviving without interruption and Martin McCann’s character, he has no name in the movie – only names his brother, so we shall call him Orpheus, is asked to provide some of his crop in exchange for firstly trinkets then seeds. Orpheus makes no demands rejecting what they offer then Kathryn cast up by implication her daughter who is aware of the forthcoming translation and steps forward while Orpheus decides to accept with perfunctoriness the offer.
Seeds are used as perfunctory and commodified trades including bodily fluids as the negotiation just taken place includes a breaking clause.
A Wooden Bolthole
The three are filmed in the cabin and frank nudity and explicit, perfunctory exchange takes place which summons new reactions and implicit bonds of a joining contract where the three are bound in the survival game. Orpheus is in charge and his musket a central theme of power. For her own specific survival and for Milja it is less clear Kathryn what’s to be in charge and to obliterate Orpheus. To do this will take nerve, conspiracy, swiftness, accuracy, daring and a lot of luck.
This is known as a post event movie and Stephen Fingleton eschews the preconceived barrenness of landscapes here to produce a fecundity of verdant and present forms of life which in his view, as far as mankind is concerned is best expressed, best symbolised by the Inuit tribes and in my own interpretation as a follow-on the Asian Mongolian and Native American nomads whose background was Asian and nomadic life being the link of all. It transposes as the Ulster Museum struggles to point out a settlement of nomadic types here who became farmers as Orpheus has become. Here they have and armed struggle group called the Indiegonous Race Etnic Allegiance whose an acronym escapes me. They are like Peppers Ghost – unlike other dubious armed struggle groups – only appearing at their calling – on stage – deceptively harmful/threatening/pointless and of only fictional preciosity is a-ghastly, flagrantly, inhuman and mythological.
Our planet is challenged is the notion of the film. Despite the over grave outlook presented by Stephen it is intelligent subterranean almost visceral realism charged with deep emotions of bonding within a family, caring and compassion and love expressed tenderly and unequivocally. It sanctions goals but they are only to be accepted through agreement. The narrative places several choices – and it is important to notice these polemic turning points when they subtlety arise. They throw up questions of mere fate, desire, strength of character and ultimate sacrifice. At the beginning of this paragraph I alluded to an overload of gravity. Very true. There is an absence of, and wrongly humour, and mere non-visual unspoken longing and bonding. Only occasionally is there any clue to the bond internally of Orpheus The Survivalist, and Milja.
Milja uses her body to draw them closer as a more perfect bond. The nakedness at times when it’s not part of a earthly comeuppance is in both their state one of celebration of freedom as they bath and have time to breathe. These times are few and the vocabulary of beauty and existentialist thinking and wondering are virtually minimal as dictates prevail. Nevertheless all thre characters use their bodies as an extra acting device unclothed they are of any time or place or origin giving only identify familiar through bone and flesh shapes.
This is a tremendous film of quality with a hard path to redeem the ticket and entry to it. To take in,cab sorb its rough and delicate transience, it’s life force is fragile and starkness of reality is summoned through Survival is uppermost your part of the deal.ccTo engage in its cinematic, provoking challenges. There is one religious one, of serious contempt, there are bodies corrupted by violence and bloodily as well as the naturalistic settings and their stimuli.
This is a formidable provocative apocalyptic film outside the genre of that overused adj. apocalyptic, it is beyond stereo forms of placement, heavily immersed in monolithic tableaux. Sound is a statement which initially is stronger than the visual as a mechanism of connection. Then the visually deciphering of The Survivalist himself and how he lives comes in slowly. In its pace also it moves deliberately slowing our senses down to engage with all its values. They panoply of choices fighting among the trio is a woman man adventure, a power struggle of equal measure, of natural precedence, meaning nature is the master and cells and skin are interchangeable commodities. It is, the film, at a cellular molecular level in a lot of aspects and the more you burrow the more you learn or will see. It is a parable on life’s journey in that sense. It is begging to be seen widely and for the complexities to be drawn out of what appears on the surface only as a simple thriller and contemporary; dystopian and such appendages are not welcomed by either Atwood or Fingleton as the fiction is probably and horrendously contemporaneous as examples such as Isis and they are not alone, show.
One thing Stephen Fingleton mentioned and it features a core thrux of the film is commodity and entity in product which he is viscerally challenged as we all are by. Except he attempts to make movies about them by I understand distancing himself from those stimuli when escaping (as a Surviavalist might, though without choice to survive this modern animal of entertainment come infortainment.
In for a penny in for a pound. Except the pound is a barbed wire fence with you on one side and uncivilisation on the other.
I hope it receives the acclaim it deserves and is widely a success given its performances and messages that can be diversely drawn from it. No reaction will have an equal and as ‘animals’ with a lot in common we continually surprise and alarm.
3 February 2016
The QFT show the film exclusively before general release around the 12 February 2016 when all sorts of wider audience will be devoured by it!
Their showing QFT is from Friday 5 February 2016 to 18 February 2016 so it bridges the opening also.
On Friday 5 February Director Stephen Singleton and Martin McCann will be at the QFT screening for a Q/A
On Saturday 6 and Sunday 7 February Director Stephen Fingleton and key crew will be at those screenings.
So Stephen has a busy schedule immediately before he goes of to other films and some writing already in the plans ahead.
Go see hopefully with the Q/A elements.
Magpie is a prequel short starring Martin McCann in another guise directed by Stephen Fingleton which he advises is free online to view at the link www.magpieshort.com