Sci-Fi FF 2022 Film Review - Landlocked

Images courtesy of the Sydney Science Fiction Film Festival.

Is nostalgia bad? LandLocked’s narrative enterprise seems to be based around an impression of nostalgia as a destructive force that, in the movie’s world, is the primary antithesis of change or progress. But here’s the thing: this isn't necessarily a foregone conclusion. I can remember when my grandmother passed away and my family had to vacate her housing commission home. I took my camera, much like LandLocked’s protagonist Mason, and recorded the house as she had it arranged for the last time. In this experience of mine, progress manifested itself as an external force naturally imposing on my family and I. The creators of this film seem to naturally presume the opposite.

If you do not agree with this closing premise, the rest of the film might seem like it has been misinterpreted into the horror genre. The narrative is not emotive enough to relate to the conclusion. There are some scenes which could be suggestions towards the exposition of trauma in the second and final acts, although it is uncertain because their significance remains unexplained. They seem more like unfinished suggestions to the narrative direction. When LandLocked ends, it does so quite abruptly. It is a lot easier for someone like me to relate to the first act of the film, which has an almost  mumblecore sensibility and tone.

However it is difficult to write this film off entirely, as the love put into it radiates through the skilful use of the DIY filmmaker’s repertoire. LandLocked is Paul Owens’ narrative feature directorial debut, after doing geek culture documentaries Reformat the Planet in 2008 and the series Double Fine Adventure in 2015. It’s also the debut for most of his immediate family; Mason, Paul, Seth and Jeffery Owens, who all play self-titled characters. I feel this element is important for this film due to its heavy reliance on its archive footage: it reminds me of Charlie Shackleton’s currently roadshowing film The Afterlight, and how Shackleton mentions his process for the film had been shaped by the sifting through archives for his documentaries. Certainly, the Owens’ have collected these films over years and the effective editing and direction allows the high concept of a “video camera to the past“ flow naturally. The cinematography is a little dark, and the acting at times a little dull, but I would still recommend seeing this, especially if you are a student, as an example of an accessible, principled filmmaking effort.

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Landlocked screened as part of the 2022 Melbourne Science Fiction Film Festival. For more info, click here.