Introduction:
“Inland” presents itself as an enigmatic and ambitious film, seeking to delve into themes of mental health, grief, parent-child relationships, and more. Directed by Fridtjof Ryder, the movie follows the haunting tale of a man named Lizzie (Kathryn Hunter), presumed dead, and her son (Rory Alexander), struggling to rebuild his life after being released from psychiatric care. With the help of Dunleavy (Mark Rylance), a bumbling mechanic, he navigates a world of visions and hallucinations haunted by his mother’s absence. However, the film falters in finding a cohesive identity, leaving audiences perplexed and longing for deeper substance.
A Confused Identity:
“Inland” seems unsure of its own genre and purpose, leading to a frustrating viewing experience. It strives to be a thriller, a folk horror, and a psychological study all at once, yet fails to fully embrace any of these paths. The protagonist, unnamed and emotionally detached, proves difficult to connect with, leaving us craving a deeper exploration of his psyche. As the film veers into fantastical and hallucinatory territory, the lack of a compelling central character hampers our ability to immerse ourselves in the unfolding events.
Performances in Question:
The cast of “Inland” delivers a mixed bag of performances. While Mark Rylance shines as Dunleavy, infusing warmth and charm into the bumbling mechanic, the same cannot be said for Kathryn Hunter’s portrayal of the deceased Lizzie. Hindered by the limitations of her role, Hunter struggles to breathe life into a character whose primary function is to nudge the story along. Rory Alexander’s portrayal of the protagonist also falls short, failing to convey the emotional depth required to lead audiences through the intricacies of his troubled mind.
Visuals and Community:
Amidst its narrative shortcomings, “Inland” manages to create a sense of the local community with its visual storytelling. The film captures the grittiness of Dunleavy’s garage, emphasizing the men’s dirty fingernails and twisted wedding bands, reflecting the struggles of ordinary lives. However, the more overtly horror-inspired imagery, such as limp owl corpses and chilling stone statues, fails to leave a lasting impact, lost amidst a sea of dissonant and disjointed scenes.
A Case of Overambition:
Ryder’s screenplay attempts to address a myriad of complex themes, but the lack of coherence ultimately diminishes the impact of each individual element. “Inland” aims to say much about life, relationships, and the human psyche, but the overwhelming abundance of ideas results in a lack of focus and substance. It delves into various topics without fully exploring any, leaving audiences feeling unsatisfied and craving a more profound and cohesive narrative.
Conclusion:
“Inland” is a debut feature that stumbles in its pursuit of a multifaceted narrative. With a confused identity, uneven performances, and an overload of themes, the film struggles to deliver a compelling and meaningful story. While it captures glimpses of a tight-knit community through its visuals, it ultimately falls short in creating a captivating and resonant cinematic experience. As a result, “Inland” becomes an example of overambition and a reminder of the importance of clarity and coherence in storytelling.
