Gone to Ground

Gone to Ground is set around the English countryside and follows a young Polish woman, Magda (Melissa De Mol), as she is saved from a car crash by a RAF World War II veteran, Guy (Alan Breck). However, as she slowly begins to recover from the accident, her violent past comes back to haunt her as she is faced with a conflict that threatens both their lives. The piece is based on real events and dedicated to Alan Breck and in memory of Gervase Peel.

What is perhaps most compelling about Gone to Ground is its ability to sweep the rug from under the viewer, at first coming across as a typical thriller from its premise alone. However, as the piece unfolds, it becomes more of a portrait of two individuals from vastly different backgrounds connecting on a deeper level for the majority of the runtime. Sadly, the central performance from Melissa De Mol in her portrayal of Magda can be a detriment to the experience, due to her line delivery being wooden, and her chemistry with Alan Breck feeling robotic and awkward to witness at first. Thankfully, as the film progresses, their chemistry gradually grows more natural and engaging. The dialogue can also suffer due to performances that convey pivotal moments of exposition in an unnatural manner. The supporting players do offer some darkly comedic dialogue in the opening; however, their presence is underutilised, and the tension in the latter half feels underwhelming due to the performances lacking the intimidation or nuance for the severity of the conflict. On the other hand, the film tackles mature themes such as PTSD, self-harm and abuse, which are suitably placed throughout the narrative and expand Magda and Guy’s characterisation more profoundly.

Christopher Barnett’s musical score is evocative and builds tension immediately in the remarkable opening; however, the repetitive motifs slowly become jarring and overbearing. One of the most impressive formal decisions is the camerawork, which primarily consists of medium shots and close-ups to build a claustrophobic feel from Magda’s point of view. The point-of-view shots are enthralling and visceral to experience, as the viewer is placed in Magda’s shoes. The filmmakers utilise their budget constraints exceptionally, with some solid production value to boast. Another astounding decision from a writing standpoint is the use of flashbacks, which are effective and further tie pivotal plot points together. Unfortunately, the editing is a detriment to the film as the scene transitions feel intrusive and abruptly placed during moments of confrontation.

Sadly, the film becomes overly convoluted with a plethora of twists and tonal redirects that feel shoehorned in for shock value. Unfortunately, the emotional resonance struggles to land in the conclusion, thanks to the third act feeling rushed and anticlimactic. The central issue is the upsettingly meandering pace at which it moves, and the material feels too thin to warrant a feature-length runtime. That being said, it's a mostly engaging experience when it focuses on the central characters' trauma and bonding; however, the prolonged setup feels entirely unearned due to the brief moments of tension amounting to minor.

Gone to Ground is an underwhelming experience that entirely overstays its welcome due to the convoluted nature of its third act. However, the central relationship between Magda and Guy becomes far more natural throughout the latter half of the runtime, tackling some unforgettable themes that make the experience worthwhile despite its glaring flaws.