#iheartheadlock
*includes spoilers*
Twenty years ago, Mark and Michael Polish debuted their
first film at Sundance with the beautiful Twin Falls Idaho. This year Mark’s first
solo film Headlock (writer, director, actor) was released on iTunes and Amazon
as well as opening at select cinemas across the US (you may have to search for
Against the Clock).
Watching Headlock, it is easy to see why it took
four years to get right. The final film is nothing short of a labour of love by
all involved. Love that prevailed through
the blood, sweat and tears of the intensity that was filming, the copious hours
of editing and the heartbreaking disappointment of distribution. Love that will
see Headlock get the recognition it deserves.
What is Headlock? Headlock is a spy-fi set in a
technologically advance yet indeterminate future where the brain is the
ultimate asset in intelligence trafficking. It asks the question ‘how does
brain damage affect our cognitive ability and who is ultimately the owner of
the intelligence stored within?’ It delves into the power of memory, love,
sacrifice and autonomy. And it does all this on a $1.2 million-dollar budget
that shows you don’t need Hollywood backing to create visually stunning CGI and
a unique story that leaves you thinking well after the final credits role. This
film is something that should be respected: yes, I’m looking at you Gravitas.
The underlying theme of Headlock, that the brain is
the ultimate safe that uses key identifiers to unlock our memories is not only intriguing
in the form of a CIA operation it also makes you think as it delves into the
largely unknown depths of the human brain. Goldstucker’s (Patrick Bauchau)
profound monologues to this affect are inspiring and exactly what I’ve come to
expect from Mark’s writing; these are quotes you want to savour.
At its heart however, Headlock is a love story that
interweaves the journey of Tess Chandler (Dianna Agron) as she risks everything
to save her husband Kelley Chandler (Mark Polish) from having the knowledge in
his brain become property of the CIA with Kelley’s struggle to make sense of the
virus that has left him in a coma fighting his own mind.
I love how all the pieces fit together. How the
colour was stripped by way of clothes and the buildings the characters occupied
only leaving in colour via specific items and on location. The use of lighting
to minimise and focus on or detract from characters. The special effects were
amazing; they didn’t distract from the story at all, they were their own
character.
Like the minimal use of colour, it is Kelley and
Tess’ love that injects emotion into the story. Their love and the tender moments
they share are a counterpoint to the almost blaze and conforming nature of the
rest of the cast. This feels reminiscent of the time they live in and hints at a
dystopian like future where the Chandler’s love almost feels rebellious and
uncommon. Their connection to each other can be seen between their stories
where cause will start with one and affect end on the other (e.g. one is pushed
as the other falls). The unbreakable bond they share is made obvious not just
through flashbacks but when we learn that Tess, being the person who knows
Kelley better than anyone, has the ability to decipher the key to unlock the
safe of his traumatised mind.
Morse code is an important form of communication for
the Chandlers throughout the film, not just as their language of love but also
as a way for Tess to reach the comatose Kelley. As she squeezes out messages on
his hand, he receives them in his mind as a phone call and responds using the
keys of the phone to relay the intelligence that is trapped within his damaged
brain.
Kelley’s story is intentionally chaotic, this is NOT
an accident. His mind represents brain damage in visual form. The virus that is
attacking Kelley’s mind takes physical shape in the form of statically charged
black figure that he battles as he traverses his mind trying to make sense of
the chaos. Kelley’s mind was beautifully edited; the choreography was
phenomenal. The endless hours of editing paid off: to see a movement start in
one location and end in another was mesmerising. The way all the similar themes
(falling, running, riding, etc) seamlessly and chaotically blended together,
not only from country to country but from snow to beach to road to forest, was
true attention to detail.
Like all films Headlock won’t be to everyone’s
taste but I challenge you to go in with an open mind and give it a fair shot. If
you take the time to understand the intensions and motivations, you’ll find a
unique and compelling story, and whether you end up enjoying it or not you can’t
deny that the cinematography is spot on.
PS I love that additional photography by Wendy and
Logan was included in the film
