Solid Air

Robert Houston (Maurice Roëves) is a man dying from his injuries caused by many years of being exposed to asbestos at his former workplace. He has pursued a personal injury claim against his former employer, but 5 years later it still hasn't been resolved. When his son, Junior (Brian McCardie) starts looking into it he confronts the young and ambitious lawyer Nicola Blyth (Kathy Kiera Clarke) who's handling his father's case. She tells him that the best chance they have is to find a witness that can stand up for Robert in court. And so the search begins, Junior is committed to winning the case by any means necessary, but is restoring his father's honour Junior's only motive?

When you watch 3 to 5 films a week you're a little disillusioned when it comes to expecting brilliance in a film. But then once in a while, a true rarity comes along. Solid Air is one of those films. What director and writer May Miles Thomas has created here is nothing less than a work of art. The script, directing, photo and lightning are all absolutely flawless. This is a film that really challenges you: intellectually, linguistically and emotionally; just to mention a few of the ways. Flawless is also the best word to use when it comes to describing the casting and the actors' performances. Each and every actor seems to be made for their character and every part is played out to perfection. There is especially two performances that stands out; Kathy Kiera Clarke's way of portraying the reserved and competent Nicola really makes you wonder what has made her into the person that she is and Maurice Roëves as the complex father Robert Houston really touches your soul.

This is by far the most intelligent film I have ever seen.

Screening at the recent San Jose Cinequest Film Festival in California, Scottish Director May Miles Thomas' SOLID AIR is a dark and brooding tale set in the twin worlds of high stake gambling. Constantly shifting between the domains of Robert Houston Senior's (Maurice Roëves, Last of the Mohicans) battle against a lapsed claim for compensation after contracting asbestosis within a workplace, and Robert Junior's (Brian McCardie, Ghost and the Darkness) addiction to the poker table. Their world's intertwine yet never collide as both kin set out to inadvertently shuttle each other through their hard times. Father and son portray themselves as lived in figures, intermittently detached from any emotional suffering that they may have endured throughout their unfortunate lives. This undoubtedly adds a certain weight to the characters initially, but the relief from such a morbid existence doesn't come until much later when the air that is solid between them almost suffocates the already complex plot that Thomas has allowed only to breath in the final act. Much of the middle section could easily be discarded. If this were to be so, the film would generally increase it's appeal at the box office, should it secure a cinematic release. However, as the air that is already solid continues to thicken, the plot suffers, and their is almost no relief until it's dying breath, which, when it comes does in fact raise the hairs on the back of the neck, so is it worth the wait? A complex cinematic experience it may well be, equally layered with fine performances from the almost entire Scottish cast does compliment it's charm against the backcloth of the artful, noir-ish cinematography, captured esthetically on high def.