Directed by Adam Nelson and written by Chris Watt, on the eve of a mass suicide, charismatic cult leader Joseph Layton must convince his two most loyal followers that he intends to go through with their plans. A battle of wits ensues across one evening as all three parties attempt to manipulate, reform, and out plot the others. Starring: Antony Knight, Joseph Adelakun and Holly McLachlan.
It’s interesting that films surrounding cults are so often set in the 1960s or 1970s but they are certainly not a thing of the past, and it feels like people today are just as likely to be conned or indoctrinated. So it’s good to see Chris Watt create a modern take with his story, especially in how it splits its focus between the evangelist and realistic sides.
It does a fantastic job of convincing you that Joseph Layton (Antony Knight) could certainly influence people to become followers while also exploring his relationships with Hannah (Holly McLachlan) and Marshall (Joseph Adelakun). It’s a captivating psychological game, there’s a great back and forth to it both in a dialogue sense and in its movement through past and present. There are perhaps areas it could have dug into more deeply but it’s a solid story regardless.
Something that stands out is how much the style feels theatrical, with a minimal, clean staging and the way that it moves, it feels very suited to the stage. It has the presence of a play, leaning heavily on the way that the dialogue is delivered, the pacing and dramatics, and it works really well. It’s also just a great way to make a film on a budget, by putting the focus strongly on the characters and using simple locations that have plenty to add but aren’t distracting.
The pacing is interesting in that it doesn’t necessarily feel slow but it does take its time and the story reveals itself gradually. However, the aspect that hits it right on the head is the atmosphere because there’s a consistent and well created tension throughout.
When you’re creating a character that has to be so devilishly charming as to lead a cult, it’s a lot to ask but Antony Knight ticks that box. His performance is surprisingly gripping and it plays things much more understated than you might expect for this type of role. He has a great grasp on the feel of getting under someone’s skin, hitting that tone of voice that’s authoritative and persuasive.
Keeping it even and pushing towards that almost hypnotic feel. Holly McLachlan brings a big hit of the sympathetic, her performance adds weight to the situation, highlighting what’s at stake. While Joseph Adelakun’s performance is another element that adds that stage feel, you can feel that he comes from a theatre background in how he delivers his lines. He hits a lot of intense notes and adds a touch of unpredictability.
The Mire is unexpectedly absorbing, following a satisfyingly unravelling psychological game. The writing has a great pacing and progression, with captivating characters and an entertaining journey. Antony Knight leads the story with a strong presence which draws you in very well. The direction has the tone of a play, going for something grand in its atmosphere but understated in its style. It’s a great example of how to make a feature well on an indie budget.
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