Movie Review ~ Silent Land

Is it just me, or is the world missing the empathy it had half a century ago?  Whether it be the advances in technology designed to keep us deeply ingrained in our handheld devices, the widening gap between the social classes, or conflict in belief, there has been a noticeable change in the way we relate to others and how much we are willing to sacrifice for our neighbor.  That’s not always a pleasant topic to touch on in American cinema, but head over to Europe, and they’ve almost perfected the art of the contemplative thriller that dissects human nature and the fragility of relationships.  

Take Aga Woszczyńska’s thought-provoking directorial debut, Silent Land, as the latest example of a filmmaker carving their distinct path and inviting viewers to travel along on a journey that is as unsettling as it is captivating.  Simmering with suspense for much of its run time, Woszczyńska challenges the perceptions of entitlement and dares to venture into nuanced scrutiny of the instant gratification and superficial connections that have become entirely commonplace.

Picture-perfect couple Adam (Dobromir Dymecki) and Anna (Agnieszka Żulewska) have arrived at their vacation rental on a sun-soaked Italian island, wanting to do little else but eat, sleep, exercise, make love, and shut out the demands of their lives in Poland.  From the start, we can see there are problems.  With the rental, that is.  The bedroom fan is broken, and, most importantly, the pool promised in the ad is empty and non-functional.  This will not do, not in their version of an idealized vacation.  Though the island has a severe water shortage (and their rental is on the coast near a secluded beach), they want their pool.

Their request to have the pool fixed brings a stranger into the house, an Arab immigrant (Ibrahim Keshk) who shows up the next day shirtless and armed with an annoying jackhammer.  Suddenly, the airy tranquility vanishes from the couple. There is a hesitation, a reaction to their limited interaction with him that doesn’t match the situation. We understand immediately that the couple has come to their vacation with baggage in the form of bias and a distrust of the unfamiliar.  Though they wished for a luxury to be repaired, they didn’t realize until it was too late that they wanted it on their terms.

From there, a series of events will continue to break apart the couple’s shiny veneer, revealing irrational behavior and automatic responses that leave them questioning the strength of their bond.  Intimacy vanishes, petty gripes come to the surface, both take turns provoking the other about past and current transgressions, and the unmistakable sense of unease that their true nature will be revealed begins to color each conversation they have with the locals and one another. 

Like many films in these Mediterranean settings, the visual allure in Silent Land is crucial in providing contrast to the turmoil happening before our eyes.  Captured with meticulous precision by cinematographer Bartosz Świniarski, the crystal-clear waters and sunny skies belie the darkness under our noses.  That allows Woszczyńska to create a striking metaphor for unraveling the couple’s relationship, never pulling its punches from the crushing reality of human nature.  The couple has constructed their lives with order and precision; it’s fitting that Świniarski’s arty but not intrusive visuals match that exactitude.

Both lead actors deliver compelling performances, with Dymecki’s restrained intensity pairing well with Żulewska’s disintegrating resolve.  The two share a special chemistry that isn’t romantic, per se, but reflective of how couples can alternate between affection and alienation toward their partners.  It’s disquieting to see the bricks in their gilded tower crumble, but not wholly unexpected given the situation they find themselves in and do little to wriggle out of.  Their attitude of being untouchable is authentic and sadly familiar.

Making her feature film debut with Silent Land, Woszczyńska demonstrates a deep understanding of the tension created with the right pacing and doling out of information.  While the incident that acts as a pivot point of the film isn’t all that mysterious, several clues catch us off guard, and a solution might appear simplistic at first.  However, through these clues, Woszczyńska wants us to note the deliberate tempo she’s conducted, allowing the story to unfold almost spontaneously with a sharp realism. 

Each time I thought I knew where the movie was going, it would head in a direction I couldn’t have anticipated. At first, the introduction of a new couple, Jean-Marc Barr (The Big Blue) and Alma Jodorowsky might seem insignificant, but it’s part of making sure you never get too comfortable with your surroundings.  It’s likely why there’s no credited score either because score can often guide the audience to a telegraphed emotional conclusion Woszczyńska wants us to be unable to predict in advance.  Movies with scores can have an almost sinister edge to them. Regardless, the balanced ambient noise of the area placed under naturalistic dialogue helps to create the claustrophobic space I think the filmmakers intended from the start.

Premiering at the 2021 Toronto Film Festival, the delayed general release of Silent Land has allowed it to find the right time to emerge from its slow-boil slumber.  Each scene builds upon the last, and as it peels back the layers of societal framework to expose our innermost vulnerabilities, it draws us closer to thinking about our privilege, expectations, and how we can easily detach ourselves from responsibility and ownership of our actions.  If the wake left behind by Adam and Anna’s action (or lack thereof) isn’t enough to rock the boat of conventional mainstream cinema, we’ll be stuck in this rut of pure spectacle and overcooked sensationalism for the foreseeable future.