Written and directed by Jeremy Curl, after a struggling fisherman’s marriage crumbles, he is unexpectedly offered a delicious new life. But to turn his desperation into hope, he must put his trust in a group of misfits whose project becomes more and more deranged. Starring: Ger Staunton, Jennifer Breslin, Stephen Doring, Tanja Karita, John Barrett, Keith Martin and Angelica Seleznova.
Arguably, there isn’t really a limit to how bizarre or unusual a film can be but the further you go, the higher level of control, quality and vision it requires to be successful. It’s a very difficult style to pull off and while The Highest Brasil starts out with intriguing quirks and potential, it eventually finds itself in over its head without the skills to see it through.
You can see how Jeremy Curl is attempting to create something along the lines of Dupieux or Lanthimos, trying to instil a deadpan, twisted atmosphere. Initially, he does succeed but the problem is when it tries to veer into sexual or abusive territory, and it sadly can’t handle it. Ultimately, leaving those scenes to feel grimy and uncomfortable, in the wrong way, setting the film down a disappointing path.
That leads you to the key problem of The Highest Brasil, what is there to gain from it? When it’s not really going for entertainingly dark, black comedy or genuinely exploring psychological trauma. It finds itself in a limbo, it’s rooted in that idea of disillusionment and disdain for the world, leaving people with no direction who are then perfectly vulnerable for cult style predators, where they hope to find energy and vibrancy again. However, it doesn’t feel like it has much to say on the subject.
Stylistically, it also struggles, particularly in the strange over-use of dubbing which cheapens things and unfortunately leans into that discomfort. The direction is a mixed bag, there’s some well chosen shots, especially the close-ups in its opening but it never quite builds up a personality or strong atmosphere. There’s a lot of quietness at work which is not necessarily a bad choice but it simply doesn’t manage to enhance the scenes and awkwardness in the way it wants to.
Whereas the performances are consistent throughout, Ger Staunton’s Seamus is desperately pathetic, adrift and apathetic yet yearning for something to give him a spark of life again. Stephen Doring’s Brendan perfectly captures the cult leader air, creepy, demanding and highly vague. Tanja Karita gives us the classic meek personality in Tilda, just searching for a little bit of power, confidence and human connection, arguably the most interesting of the eclectic bunch. Jennifer Breslin’s Kathleen is more of a mystery, her progression feels like we’re missing details, some previous trauma or damage to properly explain and justify her behaviour.
The Highest Brasil attempts to cement Jeremy Curl’s place in a very exclusive club of filmmakers with the unique touch to create bizarre and disturbed cinema but falls short. The intentions are certainly there but the progression and focus of the story are misguided. Elements to it feel like it wants to embrace the comedic side but Curl refrains, leaving it in a slightly confused, uncomfortable state. It starts off well but by the end it unmistakably feels like there’s a piece missing, something to truly send a message or bring it all together.
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