Well, hello there internet friends. I’m back! I took another little writing hiatus to do more book outlining (on which I made great progress) and visit my awesome friend Alex in Australia (on which I ate many delicious indigenous animals). Despite my concerns about that crazy island, I managed not to get mauled by any adorable furry creatures or giant bugs and return home in one piece to you good people.
Although, that meant leaving behind one of my favorite people on that crazy island. Alas.
Now that I’m finally over my jet lag and back in the swing of things, I’m delighted to get back to the blog with another film review. After my recent watching of Refuge I’ve been optimistic about the increasing quality of independent horror in both writing and production value.
When I saw that another indie film I’d had my eye on was available, I naturally jumped at the chance to see it. Pandorica could be categorized in a number of ways – thriller, horror, apocalyptic, dystopian – and I think that’s one of the really appealing aspects of the film.
It picks up several generations after what they call The Great Reset, some sort of worldwide disaster that decimated all but the most isolated communities. Three youth of the Varosha tribe – Eiren, Thade, and Ares – are preparing to take part in a selection test, during which the tribe’s current leader Nus will select his replacement.
The selection test is a rather vague process that comes with folklore (told over a campfire, naturally) and is carried out whenever the previous leader feels the next crop of kids are old enough to compete. Normally that would be too generic for my taste, but I do think Pandorica‘s story benefits from being intentionally ambiguous. When things seem to go awry during the test, there’s still a little voice in the back of your head that’s saying, “But maybe that’s how it’s supposed to play out.”
What immediately grabbed my attention even from the trailer was how intensely dark it is. And I mean that quite literally. Most of the action in the film takes place over the course of one night, illuminated only by the moon or torches or campfires. Dealing with shadows in that way is seriously tricky business and I think they handled the self-imposed lighting challenge wonderfully.
There are also several sweeping aerial landscape shots that are absolutely breathtaking. In particular I was enamored with a series of wide pans over the forest as they traveled from their tribal home to the location of the leadership test. This can be attributed partly to the inherent natural beauty of the set location, but even that can’t stand on its own without skilled camera and editing work.
The plot is not the most original construction – A group of headstrong kids in their late teens or early 20s compete against each other in a selection process to shape the future of their community. That’s kind of par for the course when it comes to modern dystopia, and director Tom Paton has even said in interviews that he sees the setting more as a way to explore interpersonal relationships than explore a likely apocalypse scenario.
The film at its core is about leadership, and earning the right to call yourself a leader. I believe in today’s world, power it [sic] too easily acquired by some and is likely the reason that people at the bottom find themselves mistreated… I think it was about looking at a big message and then applying to the world I know so that hopefully, whatever industry you are in, you can see shades of how you lead and who gets promoted in these characters. (lovehorror.co.uk)
In another interview, he even went so far as to self-identify the setting as cliché.
After reading his thoughts, I went back and watched some sections a second time. A lot of interactions that had previously felt sort of “apocalypse light” to me now play out like the most amazingly intense office team-building retreat ever taken. (And if you’ve ever been subjected to one of those personally, you’ll understand why that’s appealing.) Whether that was his intent or not is kind of irrelevant if it means I enjoy the experience more through that lens.
The film is not without flaws. There were character actions that were easy for me to telegraph. You don’t really get much introduction to the world beyond a text-on-screen opening montage. Some of the potential impact of the script was lost by having the main characters speak English using an awkwardly manufactured accent.
In the grand scheme of things these flaws are really just minor bumps on an otherwise picturesque road. There’s plenty of imagination involved in setting the scene – especially in makeup and costumes – and it’s easy to see just how much heart went into making this film. It’s clear the cast was fully on board with Paton’s vision and I appreciate his attention to detail.
My overall recommendation – Watch Pandorica. The film takes a well-worn genre and uses it as the backdrop for something intimate and unusual. Though the plot is more about the journey than the destination, it’s still an interesting journey to take. And if nothing else, the movie is a visual feast.