November 28, 2014

THE ROVER, starring Guy Pearce and Robert Pattinson (of TWILIGHT fame), is an Australian dystopian film set 10 years after a global economic collapse. The collapse has eliminated government services, reduced the population to barely subsistent poverty, and virtually destroyed law and order. The only visible signs of a functioning government are small military units that patrol trying to save whatever law and order is left.

The film starts off with Eric (played with a smoldering intensity by Pearce), a former soldier and farmer who’s lost everything but remembers, with endless regret and rage, how things were before everything went to shit. He roams the poor towns and the desolation in between.

When he stops at one town, his car is stolen by a group of men who’d committed some crime and gotten their truck stuck on some debris. Eric sets out in pursuit but is beaten on the road and left by the men. Then he comes across one of the men’s brother, a young man named Rey (effectively but sometimes gratingly played by Pattinson) with a somewhat feeble mind, who was left behind, gutshot. Eric gets him patched up and off they go in pursuit to retrieve Eric’s car and deliver his own justice.

This is an interesting film on a lot of levels. It’s a slow burn, sometimes a very slow burn, but it does very well at maintaining its tension, and the random violence that occurs in such a harsh world is realistic and sudden. That being said, while the film has been compared to MAD MAX, don’t expect breathless car chases and action sequences. This is a character driven film, and Pearce is doing the driving. He plays Eric with an amazing level of barely restrained ferocity. Just the way he stares at times makes you believe anything can happen, and it often does. Eric is a dark, violent and brooding anti-hero, haunted by his crimes for which there would be no punishment, and enraged by his lack of punishment–living in a world where such a thing was now possible–more than the bad things he actually did in the past. Over time, his growing bond and trust with Rey softens him a bit, though sadly, he appears to be using Rey. His only major moment of humanization comes at the end, when we finally find out why he wanted his car back so badly. Rather than MAD MAX (though I see the resemblance), this film is more like a noirish Western set in a dystopian future.

The dystopia itself is an interesting element in the film. Everybody’s selling something, including themselves, and there are even some shops selling dirty wares while protecting themselves with shotguns. Australian money is almost worthless now, and many shops want U.S. dollars, hard to come by, for premium items such as gasoline. Justice is frontier justice. The military has been severely reduced and appears to be accomplishing little to maintain law and order. Everything is broken down. Mercenaries, presumably hired by corporations, ride on commercial freight trains. Overall, the world of THE ROVER is fairly realistic of what we could expect in such a collapse–the world would go on, people would survive, but they would do so in extreme poverty, with a subsistence economy. And with little policing and a dying government, violence would often be a matter of necessity to survive.

I highly recommend THE ROVER if you’re into post-apocalyptic film and you’re looking for something is this a little offbeat, more realistic and character-driven.

Check out the trailer here.
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November 26, 2014

Simple concept that can only end one way, but the tension it sustains is incredible.

November 24, 2014

Got a nice treat for you today. In MOTHER DIED, a short film, a girl watches her mother die and prepares to become a woman in a dying world.

November 21, 2014

Space may be a vacuum, but it can still transmit sound in the form of electromagnetic vibrations. NASA recorded these vibrations and translated them into sounds we can hear. Here’s the result.

Stanley Kubrick wasn’t far off in SPACE ODYSSEY 2001. The NASA-recorded space sounds instantly reminded me of the Requiem for Soprano, Mezzo-Soprano he used for his film:

November 19, 2014

William Mortensen was an early American photographer fascinated with the grotesque. Violence, nudity and horror feature prominently in his work, leading Ansel Adams to remark, “For us [other photographers], Mortensen was the Antichrist.”

Check out his work here and here.