Film Review: The Mire
On the eve of a mass suicide, charismatic cult leader Joseph Layton must convince his two most loyal followers that he intends to go through with their plans. A battle of wits ensues across one evening as all three parties attempt to manipulate, reform, and out-plot the others.
What is a cult? What kind of people head one? What kind of people buy into it? Is it a thing of the past, or something you and I might be gullible enough to walk right into? The Mire is a 95-minute slow-burn, psychological thriller that seeks an answer to these questions and more.
We follow three characters — Joseph, the charismatic cult leader; Hannah, an ardent follower; and Marshall, a sturdy believer — on the fateful eve of their Ascension to a higher realm beyond the stars.
The stakes for all three are clear right from the start—Marshall and Hannah want answers from their leader; words that will reinstate their wavering faith. Joseph just wants to get away before it is too late. The crux of the film lies in the gradual unravelling of these people, their backstories, and their psyche.
The first half of the film takes time to build as it lays all the cards in front of the audience. The release comes towards the three-quarter mark when all hell breaks loose, making for a very satisfying crescendo and crash.
I particularly enjoyed the cinematography. The shots are airy enough for suspense and danger to lurk just around the corner, but tight enough for a precision watch of the characters—even when they are shrouded in darkness. Having just learned about the painting technique of Chiaroscuro, I couldn’t help but see some shots that showcased this visual treat (see above image). There is also a scene that distinctly reminds me of Edward Hopper’s painting, Morning Sun (1952).
There is a recurring shot of the hallway, always shot from the same angle and location that I found quite interesting. Perhaps it is a motif, signifying the passage or journey the characters will go on, or perhaps I’m reading too much into it. Either way, it makes for an interesting shot.
The background score by Imraan Husain is adept at contracting or relaxing a scene. It weaves itself through the narrative and in the slower moments, where the story is still unfolding, keeps the overtone of the film going. I especially want to highlight a particularly tense repartee towards the middle of the film (during which Marshall and Hannah quiz Joseph on his own initiation questions) where the BGM shines.
There is a scene, a flashback conversation between Marshall and Joseph that stands out to me featuring a long close-up shot of Marshall detailing a painful past incident. Joseph Adelakun, the actor playing Marshall portrays the emotion with a complicit honesty, which combined with the tightness of the shot, successfully pulls the audience in.
Another conversation between them revolves around fact, fiction, faith, and C.S. Lewis. I think that is an apt parallel to draw in the context of the Canon and its believers — people who might refute fact in favour of faith.
Anthony Knight plays Joseph in a way that makes me think of a yo-yo. At the beginning of the story, he comes across as someone unfit for heading a cult. His character is full of contradictions and nerves. Towards the middle and particularly during the climax, however, he makes a hard right to the unthinkable. The decisions he ends up making bring about the absolute fun ride that the climax of the fun becomes.
The word ‘Mire’ means a situation that is difficult to escape, and suffice to say the story is all about escape. For some, the escape is outside the Canon, while for others it is found within. The Mire offers the audience a deep-cut exploration of stakes, emotion, and the pillars of humanity. It is a slow burn that is worth watching for an explosive end.
Watch the trailer here:
People looking to see The Mire can find it here:
US (Amazon)
US (Tubi)
