The Silent Choice

The latest in the filmography of prolific writer-director Ranw Aso-Rashid, The Silent Choice is a gritty, close-up look at estrangement, abuse and redemption. The word redemption will certainly ring bells for some readers. Aso-Rashid's previous short reviewed for the website, Whispers of Redemption, dealt with similar territory in some ways. But this new drama offers a much darker examination of the broken individual, and the invasive forces preventing his salvation. Based in the single location of a pub, John (Elliot Cable) – having seemingly struggled with alcoholism and legal issues – meets with his ex-partner Maria (Rosie Lou) and their daughter Lily (Maddy Collings). They’re later joined by Callum (Matt Beveridge), Maria’s abusive partner who’s a police officer.

This film carries quite the heavy load in terms of its subject matter. It’s about a great many things: becoming a stranger to your loved ones, attempting to make amends, different forms of abuse – both self-inflicted and not. The script is also very much concerned with different forms of the destructive persona. We have someone self-hating and socially failing on one side of the coin (John), compared to someone domineering, evil, yet socially succeeding on the other (Callum). Audiences are sure to admire the complexity of the writing in this regard. The dialogue feels most genuine and lived-in throughout, and despite the grand collage of serious dramatic themes, it somehow manages not to feel too didactic – except for one element...

As a matter of taste, one can imagine a complaint being that the film does not need to be so explicit with the idea that Callum is domestically abusing Maria. The reason is not that this topic should not be in the film (quite the contrary), but the fact is that the character of Callum is already so unbearably, outrageously unpleasant – veering on the unwatchable –that it slightly overwhelms the film to immediately reveal all facets of his monstrous person. For instance, we do not know the ins and outs of our protagonists' “sins” as Callum states – although we’re certainly compelled to admire his attitude towards trying to reconnect with his family – and it’s effective to leave a couple questions in the air. Another example of a strength in this respect is the picture’s ending being rather ambiguous; the titular “silent choice” itself, if that’s how you choose to interpret it.

The plot is driven effectively by the characters and their conversation, illuminating what is a fantastically naturalistic, confrontational screenplay, also co-written by the star Elliot Cable. But on the technical side of things, the substance is delivered in an astoundingly virtuosic manner. One elevation of the craft which is apparent comparing this to Aso-Rashid's previous work is the addition of stunning anamorphic lenses to tell the story. For this particular style of self-contained drama, the cinematography fits flawlessly with the overall tone – the focus is soft, as is the lighting. Once again, there’s a truly beautiful, high-level grade on display here; its subtly rich teel-and-orange colour palette adheres to what we’d label the contemporary cinematic look. The sound recording and design are also perfectly crystal clear in that kind of modern way which industry people all enjoy. All of this takes years of practice. Everyone in the technical departments should be proud of making this movie what it is, in addition to the superb direction, engaging writing, and fantastic performances to boot.