SLIFF 2009 Review: BLACKSPOT

If there’s one thing I’ve learned it’s never to underestimate the films being made in New Zealand. No, I’m not referring to Lord of the Rings, but it’s the indie films that never cease to surprise me. BLACKSPOT is a new cerebral thriller from directed by Ben Hawker. The film was co-written by Ben and his brother Luke. This is Ben’s first directorial outing, but he has worked in special effects for Weta Workshop on such films as 30 DAYS OF NIGHT, KING KONG and THE LORD OF THE RINGS trilogy, so he’s well-versed in the industry.

One thing I can absolutely say for certain is that audiences may not fully understand what they just saw upon leaving the theater, but they will most definitely find themselves thinking about it, and some will find themselves philosophically picking it apart and discussing it with friends. BLACKSPOT is one of those movies that really needs to be viewed more than once, not necessarily to “figure it out” but in order to truly appreciate it. The beauty of a film like this is that it’s more open to interpretation than the average story that has a straight-forward linear three-act structure.

BLACKSPOT is, in the simplest terms, a story about two friends on a long road trip late at night along a secluded and desolate stretch of highway. One of the characters recalls moments from a relationship, but as the trip drags on and they begin to slip slowly into sleep, they begin to witness and encounter strange and frightening images and occurrences. Unclear as to whether they are dreaming or consciously aware, they soon realize something clearly is not right about their situation. Their journey becomes more bizarre and dangerous as they continue to travel through the endless night.

The structure of the film is anything but linear, jumping from one reality to another, shifting between one dream state to another, or what appears to be various versions of a common nightmare. BLACKSPOT feels influenced by David Lynch’s LOST HIGHWAY with a sense of repetition not far removed from GROUNDHOG DAY, but much darker and more sinister in tone. Add in the eerie score from Jeremy Cullen and dialogue that feels very much like it was pulled right out of a classic episode of THE OUTER LIMITS and you’ve got one Hell of a mind-twisting trip into a nightmarish film.

One of the fascinating elements of this film is that much of it was shot in the friends’ car as they’re travelling, or as they sit stranded after the engine blows up and the tire blows out. Despite this, and much like Alfred Hitchcock brilliantly managed to keep the film LIFEBOAT about a group of survivors stuck in a tiny lifeboat out in open ocean interesting and engaging, Ben hawker has managed to take an otherwise uneventful reality and warp it into something terrifying and inescapable.

BLACKSPOT is a film with many successful elements, all of which come together to create a disturbing, entertaining and thought-provoking story. I found myself blown away by the film’s impressive editing. This film is incredibly well cut and this above all else is the one element that truly ties the whole experience together, both visually and in the sound editing and design. Surreal, suspenseful and mysterious, the film equally incorporates themes of horror and science-fiction into a cinematic labyrinth.

Not everyone will like this film, not everyone will have a clue as to what they just experienced either, but for me that’s an honest compliment to a film that demands a lot of it’s viewer without demanding too much. This is not the type of film to see on a lazy Sunday afternoon, casually absorbing it’s content between handfuls of popcorn or smooches with the little lady. BLACKSPOT is a film that demands the attention of it’s audience and, if given fully with an open mind, the film will not disappoint.

BLACKSPOT will screen at the Tivoli on Friday, November 13th at Midnight during the 18th Annual Whitaker Saint Louis International Film Festival.