The Descendant

Having seen a wide selection of lower budget films in my movie watching career, rarely have I seen one so well filmed and acted. The intriguing plot, kept me guessing right until the final scene. The quality of the filming and almost timelessness of the sets, created, in parts, an ethereal quality which made the supernatural element of the film all the more haunting. The characters,especially Mr. Duke (who made me feel very uneasy throughout the film),successfully convinced me of a stifled secret, which when revealed was genuinely shocking. More shocking though is the fact that the story is based on a little known part of Canada's past that would surprise viewers both Canadian and otherwise.

In a way, it's a bit misleading to label this a horror film. I'd say it's more a suspense film with horror elements. If you go in expecting lots of explicit gore, this isn't the film for you. But if you're looking for an intelligent, thought provoking film that will keep you on the edge of your seat while it's on and stay in your mind for days afterward, I'd recommend checking this one out. If there was a film I'd compare it to, it would be the original Wicker Man. It has the same plot structure of an outsider arriving in a small community and creating suspense through the gradual revealing of the local secret. One difference is that this film's story is inspired by a true (and conveniently forgotten) incident in Canadian history which will be a real surprise to many viewers.

I don't want to overpraise the film. Obviously, it's not at the same level as the original Wicker Man (though it's miles better than the remake). But for a first film made on a tiny budget, it's quite an achievement by the director. The lead actor is a little weak, but the rest of the cast is first rate, and the villains come off better in these films anyway. The editing and photography are better than many films made with many times the budget and really help to draw you into the story. I saw this at a festival showing where the audience was completely caught up in the film (and laughed in all the right places) and gave the director, who was there, a big hand at the end.

Having been addicted to films for some 30 years I am just as happy watching something made for £1M or £100M , but I don't expect them to be the same. I only expect them to be interesting The concept and realisation of the Descendant along with the strange and ,to me, previously unknown subject matter made the film compelling. The tension that develops between the fey protagonist (James) from the modern world and the serious reserved characters James discovers in his family's past is very well played in large part and I had a growing feeling of discomfort as the film progressed. Horror films that develop discomfort from the milieu (The Wicker Man)rather than with bloodied bodies and slick CGI ( Nightwatch )seem to stick longer in the memory and this is one of the former.

These sorts of indie films are either hit or miss, especially when little is known about the film from a lack of costly pre-hype publicity. So, for me, this taut little drama was a brilliant surprise. The film doesn't rely on clichés and in fact seems to steer clear of them. The pacing drew me in alongside James, the main protagonist (played convincingly by talented newcomer Tadhg McMahon). We are only as aware as he is of the unfolding truth and we react as he does with curiosity, surprise and ultimately, horror. I was riveted from start to finish accompanied by a well-crafted soundtrack along the way. Can't wait to see what this director has in store for us next!

Philippe Spurrell's feature debut is an intriguing story revolving around a small community and its shared secret past history, and how an outsider pushes those secrets to the surface for all to see.

Since the film does rely on the element of surprise for it to work as a mystery, I will not be too explicit on the story itself, but will concentrate on the crafting of the film.

I saw this shot-on-35mm film digitally projected in a setting that did not in any way detract from the lush images on the screen.

The story begins in Montreal with the main protagonist, James, finding a few details of his past via an old shoebox, left to him by his mother, full of old photographs and birthday cards from his grand-parents whom he had no contact with since he was 3 years old. His partner, Kim, suggests that he should go and visit them to re-establish contact with his past, and possibly find answers to the reasons his mother exiled herself from her family.

When James reaches the small isolated community of St-Harmonie, Quebec, he finds himself warmly welcomed by an old friend of his Mother's, but looked on with suspicion by others in the local bar.

James meets up with his Grand-Parents at their farm, and intends to stay for a few days. He proceeds to unearth stories about his Mother's past, and finds deep secrets that the community collectively keeps buried deep in their history.

The film makes for a very good mystery, and succeeds on many other levels as well; but to reveal those would be to give too much away.

The cinematography by Lorenzo Negri and Ivan Gekoff (CSC) is quite sumptuous and serves the story well. The muted colours and close attention to the surface details and textures of the surroundings is very reminiscent of Kim Ki-Duk's "The Isle" (the look of the farmhouse and the wood specifically).

The art direction, the costumes that were created for the inhabitants of the little community literally transports the viewer in a past era; trucks and vehicles being the only details of a vague contemporary setting once James is at the farm.

There are fabulous shots over the farm's windswept cornfields that beg the question of how they were achieved with such a small budget (I did not want to ask the question of how they did it in order to maintain the illusion in my mind).

The actors delivered very convincing performances that at first glance appear off-kilter, but as the film progresses, you realize how true they are for the characters involved; I would say almost Lynchian in subtlety (especially the grand-father played by Jim Reid).

The sound design by Dan Lagacé and music by David Kristian are absolutely outstanding; he does not overwhelm you with recognizable themes, and the background sound effects are so subtle that they induce the mohawk effect (as one of "The Exorcist"'s sound designers was referring to his own sound work was meant to achieve in that film); the hair at the back of the neck definitely rises.

For a film that was shot over the span of 5 years on a shoestring budget, the continuity is spot on and doesn't betray the lack of funds.

Philippe Spurrell has really achieved a great deal with this film which is garnering interest across a broad spectrum of History and Film scholars, and the public at large.

The story explores a little known part of our local history, and makes a strong case for re-examining it in greater detail so that future generations realize how similar we (as a nation) were to our American neighbors.

The filmmakers should congratulate themselves on a job exceedingly well done. I strongly urge the public to go and see this film wherever possible; one of the best Quebec English Canadian films (yes they are distinct from the rest of English Canadian films) I've seen in a long while.