Inland

In selected cinemas now

Inland is about a troubled man (Rory Alexander) who is exiting from a mental hospital after an episode prompted by the past disappearance of his mother. He reunites with Sage and dishevelled mechanic Dunleavy (Mark Rylance), who attempts to be an old family friend and potential step-father. The film culminates on the central struggle between “The Man’s” hallucinatory psychosis, induced from a visit to a sex worker which resembles his mother, and the promise of a mundane yet admirable life that Dunleavy bestows to him.

The plot from this small setup sprawls out into every possible direction, going everywhere and nowhere at once. It is too innocuous to be a psychological study, too vague to be a folk horror, and too lethargic to be a thriller. It has nothing to say on the various topics it brings up, whether it be infidelity, the loss of parents, mental health, or the emotional barriers of masculinity. It is not a film that aims to say something important on its subject, but a collection of aimless scenes meant to feel constantly unsettling, as if a dark fairy tale has sprouted its roots around you. Instead, you feel as if you may have missed some important line or scene that would make the experience make sense. But simply, there is no message or statement, just scenes.

The film isn’t a total failure, as it features some incredibly beautiful and effortlessly claustrophobic cinematography. The same can be said about the ethereal and folktronic soundtrack that permeates every quiet drive through the forest. There are also brilliant spots of acting from Mark Rylance (who carries the film on his back solidly), while Rory Alexander provides a passable performance.

Sadly, Inland is ultimately just skin with the bones not to be seen. A beautiful folk horror aesthetic with no message, intent, or objective other than to mildly unsettle. It’s a film that feels like a short student film that was birthed into existence through the audacity of its production team. This film has a shocking number of producers including Sting's wife, with the film only having a cinema release because of Mark Rylance's presence.  All eyes should be on cinematographer Ravi Doubleday and the rest of the camera department as they have done some stellar work here. As for first time director Fridjof Ryder, I hope he can deliver on his aesthetic promises on his next feature.