Victims

From the start Victims draws you into a dark question about truth, sowing a seed of doubt in the mind of the watcher. John Bocelli plays the part of the "victim", wrongly accused, very well, unwavering throughout most of the film leading the watcher to question the validity of the kidnapping. The way the film has been shot – in one continuous take leads you along with the story nicely, building up the suspense as to what will happen when they reach their destination. The confrontation between Nina Millns and John Bocelli is very well acted and asks the question – what would you do? How would you react? All through the film the cold calm exterior of Sarah Coyle, the kidnapper, holds except for one brief interaction with Nina Millns, showing us a glimpse of humanity under the detached persona. The final confrontation between Sharon Lawrence, Bradley Cole and John Bocelli allows us to see the true "victims" in this piece and is done with feeling and depth. The whole story carries you along easily from the first shot - preparing the camera - to the final scene - as the van doors close. Victims is a film that makes you ask questions about human nature – justice and injustice. How would you handle it?

In this gripping British mix of drama and thriller, a man is dragged into the back of a van by a couple of balaclava clad kidnappers and gets handcuffed. He's being accused of a gruesome crime that, according to them, was committed when he was a child. The shocked man, who's on his way to his wedding, keeps denying this. In real time, we get to witness the ordeal he goes through. Finally, the shocking truth is revealed.

Victims is a film that grabs you by the throat from the very first instant and regularly hits you like a sledge hammer. It's presented from the perspective of one of the hijackers, who's filming everything – more or less in the vein of films like The Blair Witch Project, Cloverfield and REC. Victims, however, is completely unlike any of those pictures. Victims first and foremost is an intense, grisly realistic, mind-blowing psychological drama that explores the darkest caverns of human nature – on both sides.

What makes it extra compelling and atypical is that it has a twist: about halfway, the story takes a very surprising turn. When that occurred, I almost fell off my seat! (I was already sitting on the edge of it.)

The fact that this film was made with a minimum of means, no big names and a very small crew goes to show that you don't necessarily need a mega budget, major stars or hundreds of crew members to make a solid, memorable film. Director David Bryant and his people prove that when you're creative and resourceful, you can establish the most amazing things. Having talent helps, too, of course – and that's what these makers have in abundance.

If you want to see something truly different for a change and are open to the subject matter, watch Victims. I'm confident you'll find it refreshing.

British director David Bryant has been a finalist in the CUT short film festival and released the indie horror DEADWOOD along with his co-directors Sebastian Smith and Richard Stiles. Now Bryant strikes out on his own armed with a camcorder and a concept that brings a new take on the recent spate of found footage films.

On what should be the most memorable day of his life, his wedding day, a groom is thrown into the back of a van by masked kidnappers and subjected to a barrage of questioning from his captors seeking answers to a truly memorable day, memorable for all the wrong reasons. The entire event is recorded by the kidnappers as one continual take with the film presented as "found footage".

Any aspiring film-maker will have read the advice from Robert Rodriguez to make a film with what you've got. Where as most interpret this as a camcorder, friends and a bottle of ketchup Bryant has utilised his access to talent, creativity as well as the camcorder and friends resulting in a challenging piece of film making both on technical and narrative levels. Flourishing out with the constructions of Hollywood and instead embracing the even more constricting DIY indie world VICTIMS steps beyond the coral of recent found footage films that have found themselves herded in by ghost stories and possession tales and utilises the best tool available to any film maker; originality. The constant "one take" is executed perfectly with Leighton Wise' camera work balancing perfectly between swaying disorientation and amateur style zoom and pans without ever becoming sickening and the naturally occurring sound design really sells the real life angle on events and yet seems intentional. The cast are largely undiscovered but could put professional and paid working actors to shame particularly the lead John Bocelli who carries the weight of the whole film with total believability and conviction.

A kidnap drama that escalates itself with a topical subject matter solidly founded in outstanding performances and modern film making techniques VICTIMS is the solo indie debut of the British director to watch. Nolan and Edwards have led the way Bryant could be the next big name you're paying at the multiplex for.

I had little expectation as I screened the World Premiere at Montreal FantAsia Film Festival. As the slow-paced story played out however, I got everything I could ask for from a low budget thriller. It is thought-provocative, nuanced, different and brings out tension and emotions satisfyingly while still leaving unanswered questions.

David Bryant wrote a solid screenplay, got some actors to rehearse between them and add their take to the story and then basically filmed three long takes theatre-style, only with a cameraman as an eye-witness participant, in three days in a unique location. He put his own money to create the film on ultra-low budget and had actors and DP to opt for a later profit-sharing scheme to minimize upfront cost. Yes, this film was created with less than 3000$. David later joked that his plane ticket to Montreal was the now the biggest cost he had to incur.

Budget consideration aside, this movie lacks nothing. The one-take and some time jerky camera serve the story and make you feel the immediacy and intimacy of the characters. There are a few welcomed surprised, but the story stays in the grey spectrum (like the colour correction) the whole time. We are left with a lot to ponder and discuss.

Special thanks to David for sharing his thoughts and experience in the Q&A and outside the theatre in an informal discussion of this fine piece of art.