TIFF 2021 Report 2: SILENT LAND, ENCOUNTER & DUG DUG

These are three wildly different films, in tone and scope, genre, and vision. And I love that! From an intricate drama to a sci-fi familial struggle onto an absurd satire, my next report is big on variety and equally large on talent. I’ve been fortunate enough to watch a lot of very compelling films, so far, at my first TIFF. In one day if I can leave my viewings with a thought-provoking experience that has me nearing tears and finishing up with a welcomed batch of laughs, then mark my film Festival experience as a success.

Silent Land (Aga Woszczyńska)

Aga Woszczyńska‘s debut feature feels like a movie from an experienced filmmaker. One of the things that stuck with me the most after watching was the vibe that undeniably wraps the viewer – and the two characters at the center- up.

Polish couple Adam (Dobromir Dymecki) and Anna (Agnieszka Zulewska) are on vacation in Italy. When they arrive at the luxurious house, the pool isn’t working so they get it fixed. When an accident happens resulting in a death, the couple’s vacation turns into a discomforting evaluation of who they are and their own morality. The movie moves as a downward spiral and has them burrowing their feelings inward, until they can’t anymore, and it explodes onto one another.

The film takes its time, utilizing the slow-burn character study at times to a disconcerting level (we are also watching not particularly likable people). I think the underlying discomfort with their decisions, actions, and realizations, matches the tone impeccably. The moral tale that’s being examined here forces us to judge the characters and the couple, as they do themselves. I thought it was a really interesting seed of an idea, showing how one event can completely shake two individuals.

It’s a deeply emotional journey all displayed by our two leads, who give terrific performances. Every moment feels intentional, methodical, which is further absorbed from the excellent camera work and framing. It really provides us an intimate invitation into their experiences as they deal with this unexpected crisis and how it derails their vacation, and themselves. Dobromir Dymecki and Agnieszka Zulewska give us nuanced portrayals as our lead couple. At times Silent Land feels unnerving like we’re watching a slow chipping away of a person’s integrity and a couple’s trust, but it’s what makes this interesting concept memorable.

I’d also be remiss if I didn’t mention the perfect closing shot, showing just how much our experiences, stick with us.

Silent Land is a meticulous character study featuring stunning camera work that utilizes every shot with precision. A terrific debut.

Encounter (Michael Pearce)

Ex-marine Malik (Riz Ahmed) shows up in his children’s bedroom at night, after being away for a long time, insisting on a road trip. From the opening sequence (which is a visual feast, that got me intrigued for where this would go) it’s clear that there’s an underlying threat here, urging him to grab his sons and get away. Once they are started on this journey, regardless if the details are made obvious, one thing is clear: their lives are changing forever.

The two children Jay (Lucian-River Chauhan) and Bobby (Aditya Geddada), especially Jay, and Riz Ahmed give amazing performances. What sticks with me the most from Encounter is the excellent casting and how seamlessly they fall into these roles.

Tonally and trajectory wise the film falters a little. It misdirects and tries to keep suspense, but often loses it. From the start, it paints this idea of a science-fiction-filled survival story, but what it really becomes is a dramatic, relationship-based struggle. When the two ideas are in tandem, in the beginning, is when it is at its best, that and within the smaller moments, between father and sons. There are heartwarming moments displayed here, with genuine humor and generosity in actions and exchanges. Despite everything that’s happening and the anticipation and dread of what’s to come, you believe that there’s love here.

Michael Pearce crafts a unique story, even if it isn’t entirely confident throughout. It’s clear that he has a distinct eye while taking some bold choices, that will either sell or deter the audience. What’s undoubtedly true about this picture is the quality and heart that flows through the cast and the story that weaves mystery, sci-fi, drama and suspense. At times it can be tense and unsettling, with some real nail-biting scenes, especially early on before some of the details are made clear. The film sits on the precipice a lot, not giving us too much too early so that we can form our own opinions. Who can we trust? Is what we are being told real? It looms for a long time before we finally realize what’s happening, and another sort of dread sinks in.

I had to sit with this one for a little while, to reconcile the hope that I had for where this film would go, and where it actually went. I’m trying to be vague on purpose because I think it’s important to truly experience this movie. However, I still liked what Encounter did, even when its genre-hopping intentions get a little confusing- and occasionally- frustrating. It’s the emotional journey and familial connection that get you.

With incredible and endearing performances from everyone involved and an obvious prowess for style, Encounter gives plenty to digest.

Dug Dug (Ritwik Pareek)

When Thakur Sa (Altaf Khan) crashes his bike one night under the influence (an opening that plays out like a hallucinatory, hypnotic dream), and doesn’t survive, it’s believed his spirit has lived on. The reason? His bike, residing at a local police station, seems to keep disappearing at night and driving itself to the location of his crash. Is it possessed? Is it his spirit? This provokes a series of attempts to lock the bike down and keep it in place, shown hilariously by the inept cops, and the next day… it’s gone again. Pareek uses sound effects and a quick turn of a mirror or a shift of the tire to suggest it has some kind of life within. These subtle remarks are some of amused me the most.

As more people begin to find out about this bike and its mysterious behavior, more show up and claim to have seen it drive without a rider. As most ideas that turn into ones of grandeur, it happens fast, by word of mouth, publicity, and lots of commitments to faith. Before you know it, everyone wants to see the site, and believes that Thakur Sa resides here.

Its fast paced story keeps you engaged, while consistent upbeat music keeps the narrative strumming. Part of the film moves like a montage, showing just how this continues to domino into something bigger, and bigger. It uses comedic framing, and really settles in on the shtick that it sells so well.

It traces the seed of belief, as it explodes into the creation and even monetization, becoming a brand in and of itself. While the trajectory starts from a seemingly ridiculous place, often showing how something small can be wildly acceptable if enough people believe, it never does so insensitively. There’s also a spotlight on consumerism, capitalism, and the general look at blind faith.

It’s a vibrant and dizzying mix of sound and colors, with a cleverly written script by Ritwik Pareek. It’s over the top, which I appreciate, but occasionally, in the third act, things get repetitive in a way that isn’t ideal. Still, despite this, it manages to make for a fun, inventive time for a first time director. Part deadpan, and part pure absurdism, Dug Dug will not be for everyone, but it was for me.

Dug Dug had me laughing out loud multiple times and provided a much-desired bout of lightheartedness in a lineup of many dramas and heavy hitters.

Silent Land, Encounter and Dug Dug all had premieres at Toronto International Film Festival.