Written and directed by Jed Hart, a middle-aged empty nester’s mundane life is upended when raucous new neighbours move in next door, unleashing potential danger and disruption. Starring: Lyndsey Marshal, Aston McAuley, Barry Ward, Kate Robbins and Denzel Baidoo.
Within Restless there are two key stories, both of which are extremely relevant. The first being how destroying someone’s ability to have peace, quiet and sleep will set them on a descent into madness. The second being how in a modern world, people take their own negative energy and frustrations out on innocent victims, particularly online. The latter is woven in more quietly but it’s definitely there and makes an excellent point because most often those abusing others online with nonsense vitriol are simply doing so because they’re unhappy in their own lives.
Jed Hart sharply portrays the concept that in a world of disappearing respect and courtesy for others, we all go mad and turn on each other. Something that makes Restless all the more impactful because it’s plain to see in today’s society. It’s undoubtedly going to be a difficult watch for anyone who has an aversion to conflict and confrontation because that’s the film in its entirety. It doesn’t let up and very purposefully so, the tension is slow at first but then a switch flips and the atmosphere ramps up quickly. Part of what makes the tension so effective is how grounded in reality the style is.
There’s nothing about Restless that doesn’t feel realistic, every step of the way, every escalation feels like it could genuinely happen. Especially when we’re dealing with a character who is intensely overworked in an underfunded industry, coerced into pushing past her limits, underappreciated and underpaid. So, while you may not agree with every choice that Nicky (Lyndsey Marshal) makes or it’s not something you would do yourself, you can easily understand how she’s been pushed to that point.
Which is to the credit of both the writing and Lyndsey Marshal’s performance. Watching how her balance of being reasonable and vengeful slowly becomes sinister is gripping. Creating a battle of how you can’t use reason, manners and logic to deal with rude, aggressive and selfish people. Marshal taps into the perfect mix of being vulnerable and kind, as well as determined and wily. She adds a good level of unpredictability, putting you on the edge of your seat on multiple occasions.
Aston McAuley then fills out the quintessential mould of a bad neighbour, loud, rude, entitled and egocentric. It’s like a one-size-fits-all of the worst Britain typically has to offer, though surprisingly without the racism but still twinged with misogyny. Funnily enough, with both Nicky and McAuley’s Deano having plenty of issues, it’s actually Barry Ward’s Kevin who turns out to be problematic. There’s an inherent conflict between the way they want viewers to perceive him and how he’s actually written. Hart clearly wants us to believe that he’s a nice guy, but his dialogue and behaviour says pretty loudly that he’s actually a “nice guy”. It’s the one poorly made choice that stands out in Restless, marring the ending, which otherwise is brilliant.
Restless is exactly what you think it’s going to be, a constant barrage of tension with plenty of sly and sinister moves along the way. The sense of realism that Jed Hart creates is superb, especially when it’s captured with such a rich aesthetic, elevating the everyday to embrace the combative nature. The writing is terrific for the most part, only making a few misguided choices with Barry Ward’s character. Lyndsey Marshal gives a brilliant performance and a great reminder to be nicer to your neighbours because you never know what people are capable of.
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