Matthew Briody charts a course through cults and comedy in this review of The Highest Brasil from Abbeyleix filmmaker Jeremy Curl.
Is this it? That is the question at the core of Jeremy Curl’s film. The Highest Brasil is a unique and highly absurd look at existential ennui and the life not lived. The emotional anchor of the film is Seamus, a dissatisfied fisherman whose life and marriage are on the rocks.
The first shot sets a strong precedent for the rest of the film. An extreme close up shows Tilda (Tanja Karita) answering a series of bizarre and seemingly unimportant questions. A long and awkward silence follows. The absurdism continues as Seamus (Ger Staunton), gets out of his car. He takes off his clothes and puts them on backwards. Even the act of walking is reversed as Seamus crawls on his hands and knees. Seamus is a man of superstition. These rituals continue to plague him when Seamus spots a hearse in town. Meanwhile, Seamus’ wife Kathleen (Jennifer Breslin) is more caught up in the mundane. Her work as a doctoral student in a psychiatric hospital exposes Kathleen to the much darker side of human nature. In a chilling encounter with a patient, Kathleen is threatened and harassed. This mismatched couple both long for an escape.
A way out appears for Seamus when he picks up a leaflet in his local pub, which asks the pivotal question “Is this it?” leading him to a group of equally strange and unfulfilled individuals. The leader of this group, Brendan (Stephen Doring) promises to take the group to the land of High Brasil. This is seemingly a utopia with free love, rivers of wine and fair maidens ready to satisfy your every desire. Joining Seamus on this journey is Tilda, a mysterious woman; David (John Barrett), a put-upon accountant ready for a change; Andrew (Keith Martin), a father who would rather be somewhere else and someone else; and Brendan’s trusted associate Ivanka (Angelica Seleznova), who takes care of any logistical problems.
While all of these people are bonded through their desire to escape to another world, there is another thread running throughout the film. The journey itself plays a key role. Traveling is what brought Seamus and Kathleen together. He used to be on a large fishing crew, sailing all around the world, while Kathleen is an American who settled in Ireland. This want for a voyage towards something better unveils more sinister elements. Brendan’s group must follow his every word without question. Curl’s script perfectly mixes comedy and darkness to create a unique cinematic experience. Drawing on influences from the earlier works of Yorgos Lanthimos, every scene is both uncomfortable and unmissable at the same time.
Curl takes a particular interest in the characters’ childhoods. Each one of Brendan’s group members is made to tell a story from when they were children. These range from fascinating to completely inane. By bringing each characters’ childhood into focus, the script provides insight into why these people are looking for a way out. Curl’s direction is sharp and focused. The film uses a series of wide, static shots where characters are as still as the camera, creating an uneasy tension on screen. By keeping the camera perfectly still during key scenes, the urge to move forward and travel is made more tangible.
The performances are all extremely impressive in how they toe the line between passive existence and deep longing. Ger Staunton is gripping in the role of Seamus, carrying years of regret and guilt on his shoulders. Staunton’s micro expressions reveal his past traumas perfectly. Jennifer Breslin’s subtle turn as Kathleen brings nuance to the role. Her ability to shift to unleash Kathleen’s primal rage makes for a particularly memorable moment. Stephen Doring imbues Brendan with an undeniably comic persona initially. However, as Brendan continues his discussions with the group, Doring shows a darker, unnerving side to Brendan.
John Barrett and Keith Martin are both outrageously funny in their roles. Barrett is responsible for some of the film’s biggest laughs as a result of his comic timing. Martin is a perfect foil to Barrett and the two actors make for an entertaining duo. Meanwhile Tanja Karita tackles some of the film’s more difficult scenes as Tilda. Tilda’s reaction to being slapped by Brendan is made all the more distressing by Karita’s committed performance.
The Highest Brasil is Jeremy Curl’s first film. The fact that he had never written or directed anything prior makes this impressive. Tackling dark comedy and absurdism, the film is an intriguing exploration of the lengths people will go to for a chance at a better life. If The Highest Brasil is only the first stop on Curl’s cinematic journey, wherever he goes next is sure to be one heck of a ride.
