The Drowned

The Drowned follows a group of men after stealing a piece of expensive art, arriving at a safe house in a secluded area. They discover the fourth accomplice to be missing, and a game of deception and lust comes among them as they wonder if one of them is responsible or if there is an ancient myth present in their inner thoughts at the water’s edge.

While the premise of the film and the marketing suggest horror as the obvious focus, the overall narrative feels more character-driven and dystopian throughout its entirety. The lack of dialogue and the ambiguous flow of the narrative actually make for a riveting promise to the audience. Utilising a mix of overhead drone shots and tracking the actors with its use of visual storytelling is a risky formal choice, but it pays off within the first quarter of the piece. Unfortunately, once the characters reach the safe house, the overall intrigue lessens, and the experience becomes profoundly unengaging from a viewer’s perspective. While there is intrigue brewing between the characters, the single set location actually hurts the flow of the pace; the dialogue is uninteresting and stagnant due to a lack of characterisation and chemistry between the actors. While the performances are serviceable, the script becomes increasingly dull due to the lack of conflict and tension.

On the other hand, the piece is impressive from a formal standpoint. The use of low-key lighting within the safe house is effective, and it can be visually striking with its use of POV shots, evidently inspired by Sam Raimi’s Evil Dead series. These sequences effectively create tension and elevate the scenes of terror. Also, the use of black and white cinematography within scenes of surrealism is impactful and a unique formal choice. However, the musical score can become repetitive as the central theme is overused, although it is used effectively in the opening, and some viewers may find this incredibly unsettling. What is perhaps most impressive about the piece is that writer and director Samuel Clemens wrote and completed the production within two months, which is an astounding feat in itself, considering a significantly smaller budget. It makes incredible use of its restricted budget, featuring fantastic VFX and makeup.

While the pacing can stagnate frequently, the middle segment of the film does pick up as more characters are introduced, and its themes of lust and greed are explored. The character’s motivations are questionable in their decisions for survival, and this makes it difficult to resonate. There sadly isn't much mystery, and the themes present feel very surface-level in their execution, and the overall payoff amounts to very little. Samuel Clemens is clearly trying to convey an enigmatic narrative that tries way too hard to be more layered and nuanced than it actually is. Grasping for depth, it never reaches. While ambiguity is welcome, this becomes too convoluted to a fault, and more leeway for the viewer could have made the overall experience less daunting. Although the conclusion to the piece is disappointing and lacks emotional resonance, the imagery evokes discomfort and may haunt viewers in its conclusion.

The Drowned has an intriguing premise and a plethora of engrossing ideas, but sadly, the execution comes off too heavy-handed in its jumbled themes, monotonous narrative and uneven pacing. While the formal choices and direction are impressive, the screenplay can never quite keep up with its technical prowess.

The Drowned will be available on Digital Download from 6th October in the UK.