As promised, here are my capsule reviews of the two films I saw during the second half of CIFF 2016: Prevenge, a particularly dark horror-comedy written and directed by Alice Lowe, and Amok, a brutal crime drama set at a rough boarding school for orphaned boys.
United Kingdom, 2016. Directed by Alice Lowe. 88 minutes.
Culture probably fetishizes pregnancy more than any other concept, but when you think about it, it is a rather odd thing to carry the larval form of a complete stranger inside your body for the better part of a year, while it throws your internal chemistry all out of whack. (My friend John Bruni—I can’t tell you how many NSFW things are on the other side of that link, so consider yourself warned—used to sell bumper stickers that read It’s a Parasite, Not a Choice, a play on a classic anti-abortion slogan.)
Alice Lowe, the British writer/actress partly responsible for the awesome Sightseers, subverts the mystique of motherhood in her feature directorial début, Prevenge. Lowe (who was herself pregnant during the film’s production) directs herself in the lead role of Ruth, a single expectant mother and spree killer spurred on by the voice of her unborn child. As with Sightseers, Lowe deals in a specifically uncomfortable brand of dark comedy, playing with the audience’s sympathies as we learn more about Ruth and her motives and her victims become progressively less nasty. It’s a tough balance, and Lowe doesn’t always get it right, but when Prevenge works (and it works more often than not) the gallows humor and churning unease feed into each other for a unique frisson.
Macedonia, 2016. Directed by Vardan Tozija. 102 minutes.
Writer/director Vardan Tozija tells a familiar story in Amok, but that familiarity doesn’t dilute its power. Set in a rough-and-tumble subculture centered around an “adoption center,” a Brutalist monstrosity where orphaned teenage boys (nicknamed “rats”) live and are educated, the film follows its troubled—but essentially sympathetic, up to a point—protagonist Filip as he consistently runs afoul of a series of corrupt, exploitative, or indifferent authority figures. When a corrupt police detective finally pushes him too far, Filip strikes back the only way he knows how: with violence.
There’s only one way this story can end, but Amok isn’t so much predictable as it is tragic. Tozija brings a savage realism to an environment where even a high-school teacher has to be able to kick literal ass just to survive day-to-day. Actor Martin Gjorgoski gives Filip a dead-eyed stare that makes the character more terrifying than most horror-movie monsters. The moral of the story is clear: if you give the young and marginalized nothing to live for except violence, don’t be surprised when they deal violence in return.