Directed by the talented Carter Smith, The Passenger takes audiences on a thrilling and enigmatic journey that will leave them questioning reality. This psychological horror-thriller manages to captivate audiences with its premise and well-executed cryptic elements. Smith manipulates the tropes of coming-of-age, situating the story in a terrifying, dystopian world afloat with perils of the unknown realm of human psyche.
Smith capitalizes on his knack for exploring existential fears through nuanced details and heightened ambiance. The eerie undertones, reflective of the surrounding urban decay, accentuate the sense of dread haunting the main character, played diligently by Kyle Gallner.
Smith’s utilization of deranged landscapes as the film’s backdrop balances the meek yet defiant posturing of the protagonist, deftly influencing our empathy towards her plight. This juxtaposition further mirrors society’s indifference towards the quick, unsettling transformation of teenagers into pseudo adults, a theme he transgresses in this post-apocalyptic narrative.
In a shabby weird fast food restaurant, Benson (Kyle Gallner) kills the boss and two collogues at the very beginning scenes and pushes Bradley (Johnny Berchtold) that works at the same place and witnesses the murders to accompany with his journey. As he says at very beginning of his drive; “It takes Seven hours police to be informed about the murders.” Then, the move through the road of fear and anguish brings terror to the audiences.
The dynamic of “Predator – Prey” relationship that is skillfully portrayed at first, will be gradually transformed to “Therapist – Client” through the journey of Benson and Bradley. Bradley, who had a childhood trauma at school, appears powerless to resist Benson’s behavioral abnormality; he must submit to Benson’s authority and do what he commands – the ones that drive Bradley to confront his worries.
In this way, his observation of Benson’s disorders begins as he pays close attention. Johnny Berchtold (Beadley) gives an intensely moving performance that highlights his great understanding of empathy. His paradoxically emotional eyes and his quivering lips as he twists his head and looks at things all around serve to illustrate the force of his excellent performance.
The story revolves around two travelers on a road; one has the audacity to kill and shoot everybody on his path in the span of a single glance, while the other lacks the bravery to even make a minor choice. From the boss’s inquiries about the future to Benson’s challenges to his decision-making power, Bradley struggles inwardly with what to do or who he truly is.
As a representation of transformation, Carter Smith employs the road to the personal evolution the passengers experience. The protagonist’s metamorphosis and pursuit of a new worldview, whether in the form of death or redemption, are mirrored by the wide-open road’s limitless possibility.
On this journey, Benson’s sense of invincibility is also dented. He who appears to effortlessly overcome every challenge and vanquish them at the drop of a hat, loses his temper and succumbs to anger when confronted by his former instructor. School, the hub of social conformity, is both his and Bradley’s Achilles heel.
In term of cinematography, Carter Smith harnesses cinematic techniques to embrace the narrative’s emotional and drama undertones. He strategically employs depth of field and camera angles to envelop the viewers, coaxing them into Gallner’s sphere. Adept use of extreme longshots encapsulates the isolation experienced by Gallner’s character, while close-ups offer glimpses into his innermost emotions.
But despite excellent acting and a fast pace that engages the audience, the movie doesn’t delve very deep. The flimsy discussions fail to profoundly challenge the audience to consider what lies beneath the surface of the scenes. The sentences seem to have been promptly and accurately chosen by the author to express the scenario – Like when Benson asks Bradley whether he wants to keep dating his ex-girlfriend or figure out what he should do with his life.
Benson’s interaction with his mother back home could have been avoided with no problems throughout his journey. While tangible processing of the “mother-son” bond could have provided psychological insights into Benson’s behavioral abnormalities.
The Passenger’s epilogue is not particularly touching, as Carter Smith fell short of the expectations of moviegoers. One of the movie’s significant flaws is its hasty and thoughtless conclusion.
Whether or not, Carter Smith’s film, The Passenger stands as a testament to the transformative essence of youth, resilient in its exposure to a desolate world wherein its survival hinges on the yielding of their spirit. The film brings out with existential insights and criticizes societal ills. The route of life is paved with the unsolved wounds of childhood and adolescence. Although we may have been forced down this road, it is ultimately up to us to decide how to move on.
© 2020-2023. UniversalCinema Mag.