Romola Garai debuts some impressively grimy filmmaking chops with Amulet
, her debut as director, beats deep within the film’s running time, which confounds analysis of her work without giving away the ending.
Tomaz, made wary by life experience as much as by nature—and being as the scenario itself screams of enigmatic dangers—enters the arrangement with an abundance of caution and his wartime baggage. This proves wise roughly half an hour into the movie, when Tomaz discovers an alarmingly large batlike creature in the bowl while unclogging a toilet sloshing with brackish water. It’s dead, he thinks, until it springs shrieking back to life and bites him.
Garai’s screenplay, though, runs into brick walls with characters, messaging and possibly unintended political gaffes.is ultimately a stranger-in-a-strange-land narrative where Tomaz leaves one hostile territory for another.
Still, Garai’s array of filmmaking techniques are impressive and haunting, breathing an unsettling melancholy into her script. Dissolves from forbidding treescapes to Tomaz’s sleeping face and emphasis on ornate set decoration hidden beneath dilapidation drive home the film’s mixed motifs of end-of-life decay and duality. Not everything is what it seems. People aren’t always scarred by experience but by their actions. A house is more than merely a house. A nun isn’t just a sage monastic.
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