Film Magazine Review Draft 7

Ben Bishop's second feature, FILM NAME, could not contrast more in terms of its content with his debut film Blissful Torture. But whereas the two films differ in terms of representations being constructed and focused on, the same  empathy with the human condition underlies both narratives. The protagonists of both films are yearning for change in their lives, and in both cases, this change is dependant on the consummation of a relationship with a young woman. While Masons’ situation in the first film typifies the battle between suppressed emotion and the need for contact with the opposite sex which dominates the adolescence of many young males, the relationship challenges faced by Ajax are made all the more complex by his agoraphobia. The bustling and crowded streets of Surrey - a far cry from the peaceful rural landscapes of BT -  are a striking metaphor for the heightened anxiety experienced by Ajax. In the casting of non professional actors, Bishop is staying true to his social realism roots through adhering to one of the more prominent conventions of the genre. Bishop forms a very strong bond with the actors he uses, their soulful performances a testament to his ability to elicit fine performances from young people with little or no acting experience. We hear echos of  Martina Amati’s, I do air (2009), the loneliness and isolation experienced by the girl on account of her fear of water and depth in part reflects the impotence Ajax feels. Despite this similarity, the characters come out of their shell in very different ways.  Whilst the girl in ‘I do Air’ transcends her fear with the help of other people, such as the scuba swimmers who join her, Bishop’s protagonist, through helped up to a point by his sister Zoe is left to his own devices when she leaves. The high street that Ajax must navigate takes on a labyrinthine and intimidating character, the visual signification of which communicates very effectively the struggle of Ajax’s own agency to deal with the external structures bearing down on him  as he is forced to complete his journey alone. The key theme of isolation is ever being made clear to us through repetitive shots of Ajax looking lonely and in point, in abject despair. However there are some great shots that could have only been created through the excellent relationship between Bishop and new promising new comer Patrick Pearson - a close friend of Bishop who as an aspiring young screen actor has been awaiting his time to be in the spotlight. Pearson successfully shrugs off his thespian drama student past to bring an impressive and refreshing naturalism to the role of Ajax. His stripped down performance is visceral and believable and sufficiently understated to avoid the archetype of the lonely depressed teenager, home alone, neglected by his parents even though that is his domestic situation. Despite this, our protagonist is still lost in terms of his quest, finding the girl; only his sister Zoe offers him limited support as she drives him to the high street but in the face of  his near constant indecisiveness, Zoe offers Ajax one small catalytically vital line which sign posts his need to give the girl a chance,  unlocking his thoughts and removing the maze walls. “Maybe that is all she needs. Give her the chance to not understand you”. Some of the strongest visulas occur in the interior scenes at the beginning of the film, in one shot, a glass table captured in a close up reveals its fragile yet dark and reflective properties which  are almost identical in Ajax himself - along with being almost barricaded in by the dark, tall chairs which are near enough the same height as him, these imposing elements of mise en scene, reflecting upon his imprisonment. And the clock, this adolescence, momentus period of life where when lived healthily, exposed to new and exciting things, and where we make huge leaps, yet the distorted reflection of the clock on the table almost makes it look like his clock is running backwards - bringing home the idea of his agoraphobia and the fact that he is not progressing but is in fact regressing to the earlier stages of life where fear controlled us instead of boldness. The conclusion doesn't come flying in  like a guardian angel, instead you can see the progression through Ajax's face as the story drives on. When he is greeted by Ella, a sight for his sore eyes, the camera remains still allowing the viewer to fully scan their bodies as they approach one another and exchange the present and a rather sheepish hug. As Ella slips her arm around Ajax, her desires are clearly understood by the viewer as she gently leads him away to a new location - the story having reached an end. A happy end.