WATCH THE TRAILER HERE
First, the Recap:
Visions. Surreal imagery floats through the active thought of a sleeping body, taking us to places fantastical and nightmarish, with only the salvation of waking up to either free us or cause us regret of having to leave the reverie. However, if it was indeed nightmare, what happens when waking isn’t the end? Upon rousing from a serene though uncanny dream, Ruby Ann Watzz (Ingvild Delia) finds herself in a disturbing reality. Finding no use of her legs nor any recollection of what transpired, she sits on a cellar floor, against its cold brick wall, at the mercy of a captor named Tom Allcroft (Stuart Mortimer), who possesses a quiet menace in his voice yet a very even-tempered, relaxed demeanor.
Trying to assure her there is no danger, other than perhaps to herself should she attempt to move without assistance, Tom also advises that she will remain a captive until a specific confession is made by her towards him. Frightened and untrusting of anything Tom states, Ruby proceeds to ascertain how to do what any prisoner desires–to escape. Yet, the more she delves into this endeavor, it prompts Tom to begin sharing methods to help her regain her past via triggered memories. As each previously forgotten piece comes to light, the truths exposed bring understanding to them both. But, at what price does revelation come, and what exactly is reality through it all? Can Ruby’s mind truly accept what’s been recalled?
Next, my Mind:
Very much a triumph through and through with its overtly creepy premise, well-paced flow, palpable yet understated tension, and a finale that will drop your jaw to the ground, there’s no question writer/director/producer/editor Edward A. Palmer’s 77-minute indie feature film effort should garner some attention as it seeks to enter the festival circuit. There’s such a grounded rawness to the execution here that makes the viewer truly feel like they’re actually watching this unfold in real life, thanks to smart use of camera angles, the intentionally spartan aesthetic the basement setting provides, and the effective slow burn mentality the narrative moves forward in that allows the viewer to think they’ve got it all figured out–until they don’t. It’s a very original approach to an overall concept that’s been done time and time again, and that is always what makes indie cinema the gem (albeit still a hidden one) it is. The visual presentation is perfect for this effort, giving an almost mental asylum feel to the room almost all the film takes place in. Plus, with very few indications of the outside world other than the growing number of flashbacks shown as the story progresses, it likewise leaves a lot of mystery until a harrowing endgame that will plague your mind afterwards, in a good way, of course. A well orchestrated music score also aids in creating the apropos atmosphere required here.
Delia is very, very solid, engaging, and believable in her role of Ruby, a vulnerable young woman trying to piece together even a recent past that completely eludes her, all the while attempting to figure out what is and is not truthful coming from the mouth of her almost too well-composed, mostly unflappable captor. Watching her fade in and out of the present, much less trying to handle the recollection of events that lead to her being where she is, is unsettling and makes her process of repeating certain actions every chance she gets even more desperate yet calculating as time goes on. By the time she finalizes her realizations of events that caused her to be in the condition she is, it seems to be the light at the end of the tunnel, but instead becomes a catalyst for further fears and doubts. All of this is so well enacted by Delia throughout, a credit to her ability. Likewise, Mortimer shines as Tom, a coolly methodical, patient, yet visibly weary and increasingly frustrated incarcerator, who we just know has an agenda in play that isn’t immediately evident beyond the basics and rules he’s stated to Ruby, apparently, countless times over. But, his steadfastness, tolerance, and restraint in dealing with her illustrates something deeper is driving his purpose, cleverly hidden until the appropriate moments. It’s another brilliantly performed role, thanks to Mortimer’s downplayed manner in which it resides.
Supporting turns are provided her by Jonathan Cobb and Tom Lincoln as key characters having ties to either Ruby’s past or Tom’s. In total, “Hippopotamus” (watch the film to determine the title’s meaning, folks) stands as a fantastic indie film thriller which ideally will, as mentioned above, gain notice and awards in what should be a successful festival run. It remains another ongoing example of what talents lie out there in this world just waiting to explode into the limelight in that next level way, so let’s hope Palmer and Co. will be among the next batch to rise.
As always, this is all for your consideration and comment. Until next time, thank you for reading!
