Pelverata

Set in the forestry landscape of Tasmania, Pelverata takes viewers on a gritty journey of trauma and self-discovery, marvellously blending the frightening supernatural with sharp realism.

Similar to director Mark Lipkin’s previous works, this eerie film is an elevated thriller with notes of horror, never losing its intensity throughout. Characters Misha (Charley Hur) and Myaree (Carina Parsons) are on an excursion in the Tasmanian forest to find prime locations for wind turbines. On their way, they are faced with several setbacks and disturbances, keeping viewers on edge as we follow along their journey and wonder if it would have been wiser for them to turn back long ago.

As aspects of Misha’s past and deteriorating mental state are gradually revealed, the tone is harshly set to one of unease. The film excellently moves from moment to moment, juxtaposing stressful, disturbing moments with more calming ones, so viewers never quite know the extent of the character’s situation.

Such a profound and delicate exploration of the psyche and a unique bond between two characters is aptly placed within the varying, ever-changing forest. The green sea of mystery encapsulates Misha and Myaree, keeping them within its mystical, wild world that they attempt to navigate, finding comfort in the small protected spaces of their tents. As the story escalates, the characters' situation becomes more and more dire, and it seems that they, as the viewer does, only seem to know their lives as inside this forest, which consumes them.

Misha and Myaree are well characterised; from the beginning, we get a sense of their close but slightly dysfunctional friendship. Their bond feels genuine despite some of the dialogue delivery faltering at points. We get the sense that Misha and Myaree, despite caring for each other greatly, feel somewhat claustrophobic due to their constant sharing of the same space, and this is enhanced by the film’s ominous cinematography, as they are constantly consumed by the forest from all angles.

Pelverata's use of colour is particularly striking. Against the woodland landscape, the contrast of the character’s costumes and camping equipment can subtly hint towards danger by doing ever so little. The camera work is shaky and intentional, drawing attention to certain frightening aspects effectively, and incorporating several long takes in order to captivate viewers and maintain the building of tension.

Though enhancing the menacing feel of the forest, the film’s slow pacing does have a tendency to take the viewer out of the film slightly. The film’s repetitive use of sombre music alongside similarly structured scenes can make the viewing experience feel slightly never-ending and directionless. However, this does have the bonus of creating an uncomfortable viewing experience and certainly an intentional sensation of feeling trapped, just as the characters do as certain dark themes are explored.

As Pelverata comes to an end, the film’s build-up through slow, long shots and scenes using compact spaces pays off well. The film’s closure feels earned and works as a satisfying outcome of the hopeless despair that seems to permeate the majority of the film prior to this. Overall, the Pelverata is an interesting, unique watch. An excursion into the woods becomes an exploration of the psyche. Which will be more sinister?