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Wasteman wants to give you a different look at the prison film. Gone are the days of McQueen and Newman and the Hollywood glitz of life behind bars.
The debut feature of director Cal McMau takes you inside a world that is brutal and unforgiving. Following prisoner Taylor (David Jonsson), who is on the verge of being granted parole. He is introduced to new cellmate Dee (Tom Blyth), whose penchant for picking fights and hoarding contraband threatens to sabotage Taylor's chances of being released.
The film shines as a vehicle for actors David Jonsson and Tom Blyth. Jonsson delivers a silent, yet powerful performance. He perfectly encapsulates every emotion that Taylor feels with nothing more than a look in his eyes or a slight grimace. Blyth, on the other hand, is loud and explosive. His performance is delightfully unhinged and dangerous. Each complements the other and creates a dynamic that's hard to look away from.
Scenes of the film is shown as though it were filmed vertically on a phone. These moments act as a mirror, as the phone is the main connection the characters hold with the outside world. The majority of the film is shot in what looks to be a gritty handheld style, with a noticeable grain over the film. Mirroring the images the inmates themselves shoot. The film opens with one of these videos, immediately thrusting the viewer into the violence and brutality inside the prison.
The narrative of the film ends exactly as we expect it to. Ultimately, Taylor prevails and is able to be released. While the prison brutality adds to the tense, confined atmosphere, it's all but guaranteed that Dee will get his comeuppance. However, the cramped world behind bars makes all the violence that comes before seem inescapable. While the stakes don't exactly present themselves, we know that the motivation of Taylor's character is to be there for his now-teenage son. There is no moment that establishes a particular threat to this ending. Much of the anxiety comes from Jonsson's palpable stress and fear as he tries to secure his release.
The film itself thrives on its minimalism, giving a chance for the talents of Jonsson and Blyth to take centre stage. The simple sets and wonderfully bassy soundtrack do the heavy lifting to make all the action seem more cramped and immediate. This looks into the unglamorous antithesis to the Hollywood prison film is a captivating watch. There is no doubt McMau, Jonsson, and Blyth are only just getting started.
