Archipelago

Slow-paced art films can really test an audience - something certainly true of Archipelago, with the late night screening I went to being unfortunately interrupted by the loud snoring of the man next to me. Unsurprising, perhaps, for this is a very quiet and gentle picture with a practically nonexistent plot. Instead, the action centres on the little nuances of its characters that tell of inner strains, contradictions and confusions set against a beautifully stark and distant backdrop, with fascinating results.

Following a premise more than a plot, the picture depicts an upper class family consisting of a mother (Katy Fahy) and two children (Tom Hiddleston and Lydia Leonard) who rent an isolated holiday home on a sparsely populated island. They are joined by their art teacher (Christopher Baker) and their cook (Amy Lloyd), both of whom become increasingly involved in the family. With the communications, dynamics and relations between them becoming deliberately confused, it proves to be quite fascinating. The acting of these five actors is very strong, with relations throughout proving to be highly believable and not at all contrived. The tensions are real and we find ourselves emerged in their squabbles and confusions so that, as we witness them in their anguish or in their joy, we truly understand them as human beings which is gives this film a real sense of resonance. In order to help achieve this, the dialogue seems to be designed with a lack of the precision traditional onscreen language has, appearing to be delivered off the cuff. It is the sort of language one would expect to hear in conversation with all its imperfection adding a real depth of believability.

What also adds to this is that, although the family are clearly part of the upper crust, they are aware of this throughout and indeed this adds to their awkwardness – particularly in the scenes involving Rose the chef. The realisation of this is crucial; it enables the average audience to engage with what might otherwise appear to be alien individuals with which we have nothing in common. The work also benefits from a clear and definite sense of place – the island – providing a fantastic and quite beautiful location that really helps create a dark sense of isolation that proves critical to its ideas and development of its central themes.

That said, though, this is not a faultless piece. Although touching and interesting, the pace does take its toll and towards the end it drags just a little and this detracts from its themes and power; arguably, the film may have been improved upon if you did not need to find subtle ways to awaken the portly gentleman noisily slumbering beside you. Yet this certainly does not stop this being an interesting piece of work. At the end of the day, Archipelago simply feels so real and heartfelt that it has to make a connection and the result is fascinating, making director Joanna Hogg who is definitely one to keep an eye on.

See Archipelago at City Screen, York. Check out the cinema’s website for times and further details.

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