Directed by Harry Sherriff and written by Laurence Tratalos, the employees of a dying seaside hotel have their lives upended when their colleague vanishes. Starring: Samuel Blenkin, Emily Carey, Christine Bottomley, Daniel Ryan, Oliver Ryan, Sunil Patel, Rosalind Adler, Iona Champain and Jordan Brookes.
What’s fascinating about Misper is that it’s deceptive but not in the way you’d expect. It’s not about the subtle layers of darkness or the creepy air that lingers in the background, it’s about what’s right in front of you, the daily struggle. Harry Sherriff and Laurence Tratalos employ all of those choices which almost add an edge of thriller to pull you in so that it can deliver an emotional blow. One that reminds you of how hard it is to lose someone and to lose the potential of something good, especially when your everyday life is typically so reliably mundane.
One of the most surprising things about Misper is that it makes a very interesting and relevant statement about the impact of our true crime obsessive society and how the media falls in line with that desire for grisly detail. It adds a stamp onto this story of how friends, family, co-workers or even simple acquaintances are left reeling in the wake of tragedy, to then traumatically come across the story on television and streaming services. It adds an interesting perspective on how morbid and inconsiderate modern society can be when it comes to loss and grief.
The way that Misper progresses is quietly clever, it gradually gets under your skin without you really ever noticing, until it strikes a strong emotional note. Part of that strength comes from building such a relatable atmosphere of disillusionment, in the most British of ways. It captures the classic sarcasm and apathy in its sense of humour, which then matched with the rundown yet still aesthetically pleasing location of their hotel, creates this charmingly old-fashioned sensibility. That again is enhanced further by the framing choices which hold a great ambiguity and curiosity. Especially with the superb cinematography work from Bart Bazaz which creates its own unique beauty while still capturing the mundanity of British life in a sleepy seaside town.
All of those things are then brought to life excellently by a host of understated, funny and unexpectedly touching performances. In this sort of comedically driven curiosity of a film it’s surprising to find that not only the lead character but also the supporting characters each get their own moment to portray sincere emotion. It has this grounding quality for Misper which is quite impressive. Samuel Blenkin leads the way with a familiar, anxious and sweet persona in Leonard. He’s hesitant and plays it safe, so this sudden change sets him into a tailspin. It’s a compelling mixture of heartbroken and unmoored, but with a good dose of comedy. Especially when he’s alongside the supporting cast, who are all wonderful, Christine Bottomley and Sunil Patel are standouts for their blend of comedy and sincerity.
Misper is a strong debut feature from both director Harry Sherriff and writer Laurence Tratalos. It’s unexpected, touching and clever, they are keenly aware of what people want and use it to their advantage to tell a more wholesome and sincere story. They play around with genre to give the atmosphere layers, it’s very well shot and edited. The cast are all superb and grounded, to really drive home that classically British feel. It’s highly original, surprisingly relevant and has an understated quirky edge that fits perfectly with the theme of mental health. It builds a layer of intrigue to guide audiences away from and yet ultimately directly into the heart of the story it truly wants to tell, it’s a smart piece of filmmaking.
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