Ballast

I first became interested in Ballast when I heard about its setting: it's very rare to find a film set in the Mississippi Delta. It's also quite rare to find a serious drama with mostly black characters. I was afraid that this would either be a sappy melodrama or an attempt to make some "profound" point about how racism exists and is, like, bad and stuff. Thus I was quite pleased to find that this film manages to have a uniquely Southern setting without resorting to clichés or caricatures and that making some grand social statement is evidently the last thing on the mind of first time director Lance Hammer. Instead, we have a deliberately paced character study with a nicely handled mise en scene.

The film opens with the attempted suicide of Lawrence, a shopkeeper distressed over the (extremely) recent death of his twin brother/partner/only friend. Lawrence's recovery is complicated by his brother's will which indicates that the recently deceased man's ex-wife and teenage son are entitled to his share of the store and part of the property the brothers had co-habitated. Things start off tense due to the boy's involvement with some disreputable older boys that he owes money and stay that way due to Lawrence's troubled partnership with the boy's mother. This is a quiet, contemplative film for the most part and it offers no easy resolutions. Instead, it manages to realistically capture some unique characters in a woefully ignored section of American society.

This is very much a modern American drama. Though issues such as drugs, gangs, broken family relations, violent poorly managed schools, unemployment, and financial breakdowns play a role in steering the lives of the principal characters, the primary emotion is sorrow. The suicide of a twin brother is the trigger that brings three characters -- the brother of the victim, the ex-wife and son -- to clash.

Given the fine performances of the three principals and the supporting cast, it is hard to believe that those roles are played by non-professionals. The director picked them from the local population, deep in the Mississippi Delta. Certainly there is talent here, the woman especially. But credit is due to the director who expertly calibrated the acting, mixing the right doses of melancholy, anger and disappointment. The same can be said of the environment. The wintry landscape with its scattered naked trees, resting agricultural land, and gray skies add to a sense of continual sadness.

Thankfully the director spared us from a musical track. The sounds are natural. The light as much. The plot linear. The Dogma rulebook applied.

The end is abrupt. The beginning is almost as abrupt. The past can be guessed. The future is an open question as it carries conflicting emotions. How you choose to continue the story in your mind depends on whether you are an optimist or a pessimist.

If I want to spend a few hours out of my day to get to a cinema and spend my money to watch a film, any film, then I want it to be worthwhile. Believe me, Ballast I would have paid for twice, it's that good. And I'll be buying the DVD too.

During the Glasgow Film Festival this year, this (to us) obscure, indie film played at a multiplex and my husband - who actually met the director at the London Film Festival - urged me to see it. Why? Because I'm also a filmmaker, so I share with the director, Lance, the desire to eschew the commercial imperative when it comes to telling straight stories.

Lance, if you read this - I adored this film. It's everything - flaws and all - that I want to see on screen. The integrity of the cast, no matter where you found them, the screen craft - the photography, script, design, sound, edit, costume, makeup - or judicious lack of - all fell into place. It's what they say about making films - so many get made, but so seldom do the planets align to make a beautiful one. This to me is the bomb. I love it.

I wish you every success in your future projects.

May Miles Thomas, Elemental Films, UK

I took a while to trust this film, since it is one of many new indies to start very slowly, with much that is unexplained and not only minimal sound effects, but in fact even minimal ambient sound. There's a number of new films that start this way and never get anywhere after that. Here however there's a slow but inevitable build, and much of what's unexplained becomes intuitively clear as the film progresses. The uncle's first few encounters with his nephew are beautifully set up and played, with their undercurrents clear early on. The story at one point becomes a bit predictable, but nonetheless engaging. The characters are very rich without any surface effort or telegraphing. I'm iffy on the ending, and I don't know that I'd want to watch a number of films like this in a row. But it has definite authority, and shows immense promise.

A movie about life after suicide can be very hard to depict, Ballast brings out the reality of life after suicide and the consequences of those actions. Filming in the South was excellent. The realness of what can happen after suicide was depicted in James' character. So many kids who loose a parent (especially a father) turn to the rough side of life. Marlee and Lawrence's characters were so real. Both of them should be commended for their acting skills. This is a must see film. The entire cast was very good. Lance Hammer did an excellent job in writing, directing, and producing this film.I was wondering if this was written from true accounts? The plot is so real to what is happening today, especially in the south. James and Lawrence's characters were very believable. Using local non-professional actors was risky, but all of them did an awesome job. There is so much talent in the south. Kudos to the entire cast including those who spoke only by body language.I hope this film wins lots of awards. I hope to see more of Lance Hammer's work.