We Will Find You

We Will Find You is as slickly made as it is entertaining. It’s a stripped-down revenge story: our protagonist’s brother has been killed, and we follow him on his quest for sweet justice; but not everything is what it seems. As far as thriller and suspense filmmaking goes, this movie nails the formula with high honours – the twists, the aesthetic... it’s all there. It’s not quite perfect for a couple of craft and narrative reasons; however, as a piece of pure, pulpy entertainment, it more than fits the bill. This 20-minute movie manages to hold your attention not just through the plot, but also through its atmospheric construction – there's a lot to discuss regarding the stylish cinematography, and even more regarding the outstanding sound design. It’s a successful picture, and immensely interesting.

This is simply a wonderful looking movie. There are some beautiful lenses used, and there’s a softness to the image. You can’t help but love those horizontal lens flares, and whilst most of them, I’m sure, are artificial, they help to build the kind of digital, neon vibe of the piece. Similar to Michael Mann, these filmmakers are using digital photography the best way it should be used: to illuminate the beauty of a city at night. The cinematography skillfully captures the natural feeling of the lamps and streets; shimmering bokehs everywhere you turn. However, it’s the audio which really makes it. There’s a detail and a richness to the sound design which feels unbelievably professional. The music and atmosphere of the soundscapes are intricately tied to the editing – each cut working in tandem with the flow of the sound effects; when this isn’t the case, it feels like a student film, but this couldn’t be further from the truth when it comes to We Will Find You.

If there’s an issue to be found in the viewing experience, it’s that the movie’s tone – in terms of story, not aesthetic – is teetering right on the edge of comedic. Early on in the film, I was even expecting it to turn full satire, yet it never quite does. The entire presentation and the performances are very exaggerated, which may risk turning some viewers off or lead them to take it less seriously; but after consideration, I’m actually glad that the piece never delves into full irony. I’d much rather watch this than something made purely in jest of a genre. The main visual issue, which is more difficult to ignore, is the digital manipulation found in the ‘warp stabilisation’ effect on shots of actors’ faces. There’s no reason to do this; it suddenly doesn’t feel like a film whenever it happens. But we’ll overlook it, for the film is too much fun and well-considered in every other department.

Audiences should anticipate being entertained and fully invested while watching We Will Find You. It’s a great time with some inspired formal techniques at play. Needless to say, despite any qualms, it’s a film which has a tangible feel to it, which is not always so easy to accomplish.