pride – Smaller Pictures

One of my most anticipated films for Raindance, Nuclear is the directorial debut by Catherine Linstrum. Co-written with David-John Newman, the film follows Emma, a young woman who witnesses her brother attack her mother in the woods. Together, Emma and her mother escape to a nearby town that sits beside a derelict nuclear plant. Whilst venturing around the town, Emma encounters an unnamed Boy and the film follows their blossoming friendship. What was important for me is that this film has connections to Wales and was funded by a variety of Welsh organisations so it definitely was a must-see on my list. A poignant piece on family conflict and the relationships that form in the aftermath of tragedy, Nuclear is a beautiful film that marks the start of a promising directorial career for Linstrum.

The script is phenomenal, chronicling the attack and Emma’s escape, Linstrum and Newman allow the characters to develop through natural encounters. Not allowing Emma to be defined by the tragedy of the beginning, we see her personality blossom through her interactions with the Boy. Despite only being 14, Emma acts much older than her age and longs for tattoos and piercings and a life of adventure far from the life she has had thus far. The writing follows a traditional dramatic route initially before enveloping into a psychological thriller. Through the course of the films we feel Emma’s journey and the anguish that she experiences.

Emilia Jones is a revelation as Emma. At only 18 years of age, she is able to convey the overwhelming fear and despair of the tragic incident that the character witnessed. Hopefully, this is the start of a flourishing career in film as she has made a name for herself on TV shows such as Netflix’s Locke & Key. Automatically assigning herself as her mother’s caregiver, Emma’s journey in the film is one that sees her emotional growth. When she encounters a Boy who lives nearby, she learns not to live in fear. She refuses to allow the incident with her brother define her. Jones’ performance is full of maturity which is rarely seen in an actor so young. Carrying the film on her shoulders, she brings a strength to Emma that makes her both likeable and resilient. Constantly asking questions, Emma wants to know more about the outside world so she has hope for when she escapes the situation she is currently in with her brother.

George Mackay is reliable as always as the boy who Emma encounters. Having made a name for himself in indies such as Pride and Captain Fantastic as well as blockbusters such as 1917, Mackay has a knack for choosing interesting projects that showcase his range and challenge him. Unreserved and carefree, the unnamed Boy encourages Emma to go out of her comfort zone. Where Emma’s life is full of fear, the Boy wants to strip away her fear. Mackay has proven himself to be one to watch and his performance in this film is a brilliant addition to his resume. The Boy is wacky and unpredictable but this is what provides an exciting contrast to Emma and makes the rapport between the two a fantastic combination.

Also in support there is Sierra Guillory as Emma’s mother who is brutally attacked. Known for playing Jill Valentine in the Resident Evil series, it is refreshing to see Guillory take on this dramatic role that is the polar opposite of the action packed Resident Evil films. Despite being a supporting turn, the Mother’s character is also deeply developed. Juxtaposing a seemingly happy exterior for her daughter’s sake, it is clear that inside she is broken and unsure what to do. When she repeatedly encounters a Japanese Lady (Noriko Sakura) around the town, the Mother is unsettled and longs to leave whilst knowing that this is nearly impossible as the car is crashed and they have no money. Guillory’s performance allows her to display her dramatic range and I hope that this leads to more serious roles in the future.

Linstrum’s tale of tragedy is one filled with much tragedy and heartbreak. As the characters find themselves in an unpredictable predicament, they learn how to let go of the past and allow themselves to move on. Nuclear is a film that shows the mental anguish and shock that comes from a broken childhood. The score composed by Stephen McKeon is also absolutely enchanting and helps to enhance the various situations that Emma finds herself in. I really look forward to seeing what Linstrum works on next and hope that Wales serves as the setting again.

Nuclear is showing at Raindance Film Festival.

1917 is a World War I epic that seems to be the one to beat when it comes to the Best Picture award. Co-written, directed and produced by Sam Mendes, the film acts as a tribute to his grandfather, Alfred Mendes, based on stories that he would tell about the war. Following two young soldiers, Schofield (George MacKay) and Blake (Dean-Charles Chapman) who are tasked with travelling across enemy lines to warn off a British attack before they fall into a trap set by the Germans. The film has become well-regarded for its flawless editing, designed to look like two continuous shots. As well as beautiful technique, 1917 also boasts a stunning cast that includes well-loved actor of the big screen such as Colin Firth and Benedict Cumberbatch as well as TV favourites such as Daniel Mays and Andrew Scott. As expected, Mendes delivers and the continuous shots and editing only exemplify the non-stop nature of war. There is only one point in which the audience is allowed to relax at the start of the third act of the film. The writing is simple as Mendes lays focus on the physicality and the atmosphere rather than the dialogue. There are few monologues and those with speeches such as Andrew Scott’s Lieutenant Leslie are at rare moments of stand still. Co-written by Mendes and Krysty Wilson-Cairns, the script is minimalist in dialogue. Even when following the two Lance Corporals on their journey, we never really hear Schofield’s backstory because he is so withdrawn. One brilliant scene is when Schofield is picked up by a passing British unit and they are sat in the back of a truck. Schofield sits silently as the soldiers around him comment on their various backgrounds, imitate their General and comment on whether occupying other countries is worth the damage. It’s a poignant scene which brings in a humane aspect that is often missing from World War films.

The performances are impressive, particularly by George MacKay who is always on camera. He carries the film in the same way that he carries the message to the troops. It is no easy feat as an actor to hold so much pressure from such a big film but MacKay has shown promise from the early days in his career and his subsequent breakout performances in Pride (2014) and Captain Fantastic (2016). 1917 exploits MacKay to a mainstream audience that he won’t have been subject to in such a way previously. His Lance Corporal Schofield is reluctant to go on the mission and keeps his cards close to his chest but his determination to see it through is fearless, particularly in the final scenes as he runs through the trenches. Schofield and Blake appear to have different takes for their mission at the beginning. Blake is insistent on setting off immediately whereas Schofield logically believes in waiting until dark. Because of the emotional stake that Blake has in the mission (his brother is among the troops heading into the trap), Schofield has to ensure that Blake’s heart doesn’t lead his head.

The two protagonists balance each other out as Blake risks his own life to save Schofield when a bomb is set off in a German trench. Chapman is also fantastic as Blake who appears naïve due to his sentimental nature. When encountering a German soldier whose plane was shot down in a dogfight, Blake’s gut reaction is to assist and get the soldier some water to ease the pain whereas Schofield doesn’t hesitate to shoot at the enemy. As mentioned before, the supporting cast is littered with stars from the small and silver screens. Admittedly, the supporting cast are granted one scene each so it’s more of a cameo, but each actor makes the most of their moments. Andrew Scott particularly delivers a brilliant monologue as a Lieutenant who has little hope in winning the war whereas Benedict Cumberbatch’s Colonel Mackenzie views he retreat from battle as a sign of defeat. The fleeting appearances from the supporting characters is thanks to the perfectly linear narrative of the film itself. We see the two Lance Corporals setting off to warn the Devonshire Regiment and ending with Schofield sat beside a tree in a mirror image of the opening shot.

It would be a big misjustice not to mention the revolutionary cinematography and editing provided by Roger Deakins and Lee Smith, respectively. Both men are at the top of the game in their respected fields and they work fantastically as a team. What these men have managed to achieve feels as claustrophobic and in your face as the war itself. There are many comments from people saying that the continuous effect took some getting used to but for me it felt natural and flowed perfectly. The editing is in a similar vein to the technique used in Birdman but on a bigger scale. What Deakins does so brilliantly is simultaneously provide big explosions shots filled with action while also maintaining great focus on the individual protagonists’ faces. Despite everything that is going on around the soldiers, the audiences’ eyes are fixated on the characters. Deakins’ colour palette is muted as expected in a war film with greens and browns. There are no exaggerated colours or futuristic spectacles. Deakins ensures that the film is very much grounded in its reality. Together, Deakins and Smith manage to create a film that is visually captivating and stunning, making the best use of the environment given and its limited landscapes.

On the musical side of things, Thomas Newman’s score for this film is beyond incredible and has deservedly earned him his 15th Academy Award nomination. This year has seen a strong competition in the score category with both Thomas and Randy Newman pulling punches for their scores for 1917 and Marriage Story, respectively. Undoubtedly, the Best Original Score gong will go to Hildur Guðnadóttir for her stellar work on Joker making her the first woman to walk away with the award. It shouldn’t go unnoticed, however, that Thomas Newman’s score is among his best. Much like the editing, the film is reliant on its score which acts like a thread connecting the scenes. Needless to say, if Newman does end up winning, I wouldn’t be disappointed.

Overall, 1917 has proven to be a much better film than I had originally anticipated and I found myself moved and stunned by the technical and artistic achievement that Mendes has managed to pull off. I’m not sure if it’s a film that you need to watch more than once as I personally got everything out of the film that I needed in one go. I imagine that in time, it will become renowned and known for its technical aspects and the uniqueness in that field rather than the characters.

What do you think of 1917? Let me know in the comments below!