The form of the door-to-door is not the easiest exercise, especially for a first film, which is more by making the whole rest on the voice rather than the image. Monolith tells the story of a journalist on the bench who decides to undertake an investigation podcast into a curious case whose tabloids would be fond of: strange black bricks scattered around the globe would have profoundly changed the existence of their owners... From revelation to revelation, the journalist wears the investigator's clothes in search of the key to mystery.
Extras to erase
Submitted to the FEFFS, Monolith is the first feature film of Matthew Vesley. By placing his intrigue entirely on a single actress, Monolith also takes the risky bet of reducing its unity of action to the same place: an elegant residence, far from the dreads of urban life. If the last Evil Dead He also chose the form of the huis-clos in a single building confined with the same first role, exits the hemoglobin debauchery for Lily Sullivan This time, it's axe for the microphone in this resolutely psychological feature film.
The story reveals itself for his heroine as for the audience to which the spectator is part despite himself. These invisible interlocutors carry the story; to detect their emotions, only the stamp of their voice and silence after an indelicate question betray truth or lie. It is then that the journalist takes note of and clings to the meagre clues to be attached to feed her program.
Faces A, faces B
Weared by an effective radio casting, Monolith based on the provision of actors confined to the rank of doublers. Only the tight planes on Lily Sullivan's pinched lips or those on her dubitative look are all signs to be deciphered, while the conviction to reveal the emerging part of the iceberg gradually takes over. Canular, hybris or reality? Each of these dimensions looks at each other and turns up to questioning the rigor of the investigation in the face of the stalemate of the fantastic hypothesis.
The cross-interviews followed each other and, with them, the incipient popularity of the podcast, which simmers at the heart of the inquiry, even questioning the spectator about its authenticity. One thinks especially of the game of editing that always obsesses a part of reality, when ethics gives way to the imperative of popularity. The projection of intimate affairs as of the ego on assumptions established as postulates according to the pattern of episodes also helps to disturb the grids of analysis. It is then the common sense that breaks on the reality of the fantastic. Is the facilitator carried away by her own device? By gradually installing a double reading, Matthew Vesely managed to captivate his spectator without artifice and by the only quality of his script.
Radio killed the radio stars?
Simple but never simplistic, the approach manages to take us away for a while. Unfortunately, the outcome is renewed with already seen codes of the genre, until partially eroded what the film had managed to build in such elegant and original way before its more classic conclusion. Without spoiling the film, this agreed epilogue will leave a point of disappointment to those who had been taken away by the drunkenness of the investigation. It would not have taken much to transform the test and get off the beaten track. First feature film however promising about the future of the director, Monolith is a well-tangled radio thriller expected in the hall for July 17, 2024.
Matt Vesely , director of Monolith
South Australian director Matt Vesely signs with Monolith his first feature film at the crossroads of SF and fantastic. He also made several shorts at international festivals. With a minimal budde and a single location, the constraint becomes a carrier of an effective narrative for a first feature film that holds in breath. Case to follow for his next films!
Filmography
- 2022: Monolith
- 2015 : My best friend is stuck in the ceiling (short film)
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