‘WASTEMAN’ REVIEW: A SUFFOCATING PRISON THRILLER
words by SONNY NGO
A few years ago, the British government launched an emergency scheme to combat overcrowding in prisons by reducing the serving time of people in confinement. At the time, prisons were at their breaking point, reaching their full capacity nationwide. Taking inspiration from these headlines, Cal McMau’s directorial debut Wasteman taps rising stars Tom Blyth and David Jonsson to tell an exhilarating tale of life inside such a facility. With newcomers Hunter Andrews and Eoin Doran writing the screenplay, the film is an all-consuming experience with searing performances on all fronts.
image courtesy of 18K.FILM
From being the romcom lead in Rye Lane to playing a synthetic robot in Alien: Romulus and a dystopian survivor in The Long Walk, Jonsson undoubtedly has range. Here, he plays the coy Taylor, a drug addict and former dealer which landed him his sentence in jail. But he has mostly kept his head down and regrets his wrongs, and when his good behaviour offers him a chance at early parole, he is hellbent on getting out. Especially considering that he is the father of the 14-year-old Adam who he has never met, Taylor is desperate for a fresh start. However, when he is assigned a new bunkmate, Tom Blyth’s explosive Dee, who wants to turn the place into his drug trading centre, Taylor’s odds at release are looking slimmer by the minute.
Both leads here offer a seismic performance. Blyth transforms Dee into a true alpha figure; he is muscular, imposing, and cunning. He plays him with full conviction and is like dynamite waiting to blow up. On the other hand, Jonsson turns Taylor into a quiet, watchful roommate. He is timid and composed, but also anxious at all times. The stark difference between the two makes their interaction heartspiking – you never know when Dee might detonate. But the film is nuanced enough to make them more than the sum of their parts. Sometimes, Dee genuinely seems warm and inviting, particularly when he extends his hand to Taylor. Other times, Taylor shows his guile through subtle actions and his lingering eyes. Both Blyth and Jonsson demonstrate why they are part of the British wave of rising talent: they are absolutely chameleonic and play their characters with utter refinement.
image courtesy of 18K.FILM
What truly supports the actors, however, is the outstanding direction of feature-first-timer McMau. Emanating the feeling of being imprisoned, the shots feel claustrophobic, courtesy of the straining 4:3 aspect ratio. The camera remains up close and personal at all times, and the exterior of the prison is only revealed in an economic manner, often only highlighting an off-angle and never fully showcasing the free, outside world and its chirping birds. At irregular intervals, the aspect ratio turns into one of a mobile phone and videos of inmates – from ferocious violence to behind-the-scenes drug dealing – are displayed, giving the film its raw and authentic quality. Completed with a rave-like sequence of prisoners dancing to the pulsating beats of Jamie xx’s Gosh, the film feels so wholly alive.
Philip Barantini, the director of the similarly suspenseful Boiling Point, is a producer here, so it makes sense that the film carries a likewise momentum. While Wasteman is fairly simple in its narrative structure – it is something we have seen before, especially in the context of prison films – it is executed with pure sophistication and finesse. At its peak moments, the film is a volatile and ravening experience, and by the time its third act hits, the film explodes into a brutal, nerve-racking climax. Supported by McMau’s direction and Blyth and Jonsson’s stellar performances, the film holds you in its vice for its entire runtime.
Wasteman premiered at Toronto International Film Festival and will play in Dutch cinemas starting April 30th.