Rod Serling once wrote "It has been said that God created the Heaven and Earth, but it's up to each individual to create their own personal or private Hell". Well, not necessarily, as we find out in this truly incredible film debut - Writer/Director Isaac Ezban's "El Incidente".
El Incidente begins with a striking image of a very old woman in her last few minutes of life. She's still in her wedding dress, riding an escalator to an unknown origin in the future. It's followed by a sequence where we see an endless ocean, railroad track, road, stairway, and hallway. These shots act as a road map by Ezban for us to follow on his journey into a Universe of his own creation, and what a glorious journey it is
There are 2 separate yet connected stories for us to follow, both fragmented non linear narratives about a family's venture on a road trip, and a detective's successful chase of 2 petty thieves on a stairway of an apartment building. In both scenes, we witness multiple incidents, both involving a traumatic death. A detective shoots one of the criminals while on the stairway- yet claims it wasn't his doing- while the father of a family gets lost- while his daughter suffers a severe asthma attack for which he assumes much of the blame. Both groups hear an explosion shortly after each incident occurs, and both find themselves frozen in space- but not time - and isolated from the rest of the world. They are trapped - and what they do during that time will have huge implications in determining the course of their lives.
While the family on the road keep passing the same landmarks over and over again, the Cop and 2 criminals discover an endless loop of repeated floors of the building in which they are trapped. There is much more to both stories and yes, they are connected. Listen closely to the conversation between both brothers in one's dying moments on the stairway. The regret of rushing thru childhood in quest of a happier adulthood is crucial to the film's theme.
We are now transported 35 years into the future-- Act 2
Act 2 on the staircase contains the film's most creative and fascinating images. A vending machine that automatically fills up with food at will, a mural of fascinating drawings on the walls listing the number of days since the incident occurred- a bizarre religious ritual, a collection of empty plastic water bottles that contain (that's a secret) and the most beautiful images of food captured on film since Antonioni's "Zabriskie Point". The way the characters adapt to their new stairway home over those years with what little they had was amazingly creative- like utilizing limitless water bottles for use as a make shift shower, and nail clippers for mirrors. The relationships between characters grew as well as their lives depended on cooperation. (Ezban and set designer Adelle Achar used a lot of imagination in highlighting this fascinating and original segment) Michael Parkinson Pintor on murals
Act 2 of the family on the road could have used a little more development, but still in all fairness it was realistic and true to the story. The father and son are alive, but remain quite distant. The mother is catatonic and soon dies, and the little girl has long been deceased. They have not adapted to their surroundings nearly as well. A revelation soon occurs in both stories, and some warnings as well. Only when the elderly approach death in both stories do they realize what is happening- who they really are, and have to try to break an unbreakable course of events that are inevitable- making one wonder if they can overcome the limitations in their choices to act. The characters were told that they must resist temptation and remember their names. If they don't, the cycles will continue.
The movie seems to ask us do we indeed have control of our actions or are our actions predetermined, and if so, by who and why? In critiquing cinema, as in our regular lives, it seems we make our choices based on subjective impulses and live by these choices as though we have grasped an "absolute truth" Fans of mystery enjoy figuring out the unknown but are often left frustrated when the process seems like an exercise in futility (as one might feel here) This is a movie experience you must surrender to. Rather than trying to solve all the mystery of this film, or understand its bizarre logic, enjoy the experience in these unique worlds created by Ezban. Someone once said that in Science Fiction, a writer doesn't have to embarrassed for loving strange ideas- in fact, it's almost encouraged. I might add, it's not a sin for the viewer to love those ideas either. I alone am the latter.
If there is a flaw, it might be understanding Ezban's tagline and the cause-and-effect aspects of the film. There is a lot going on here. Spending equal time in both worlds would have made the film easier to understand. It's also hard to connect or even feel compassion for the characters in this film, leaving a void in our caring about the outcome. Regardless of its logistics and our emotional detachment from unlikeable characters, we remain trapped- along with the characters- in a beautiful yet claustrophobic nightmarish loop. It does leave us with questions. Most nightmares do, but few are this fascinating.
If you pay close attention, (which few people do), the film shows us how mortality and the deterioration of aging goes hand in hand with the loss of innocence and the dreams of our youth. It is a reminder that not staying active by living life to its fullest will only lead to self-destruction, This is a film that crawls inside your head and stays there- a film you're not likely to forget.
Of course, sometimes the metaphors are missed, but that's the fault of the viewer not the filmmaker. This was easily one of the most fascinating films I've ever seen in years- an amazing existential journey - and on that basis alone, it gets a 9/10 from me- I loved it, and no, this is NOT a paid review.
