(Written by Intern, Miranda Zampogna)
As smartphones evolve their cinematic capabilities, does Inheritance’s use of the iPhone utilize this new “iCinema” movement’s intuitive democratic visual style? Or, does it further exacerbate the loss of artistic cinematic language? Predecessors like Tangerine or Unsane stood out for being the first to be shot entirely on iPhones, forging a path for blockbusters, like 28 Days Later, to assume the mantle. Borrowing from guerrilla-style filmmaking, this movement’s visual styling employs distorted angle lenses, subjects positioned closer to the camera, lens flares, and lighting imperfections, such as noticeable exposure or white balance changes—that are all on display here, in the latest work of writer/director Neil Burger (Divergent, The Marsh King’s Daughter). A frenetic, globe-trotting thriller follows Maya (Phoebe Dynevor), a young woman grappling with grief and a complicated relationship with her enigmatic father, Sam (Rhys Ifans), who introduces her to a whirlwind of espionage. Despite a few key stand-out chase sequences, this conventional spy adventure falls into the latter category of unmemorable iPhone films.
Jarring cuts and close-up tracking shots in the streets of New York City portray the beginnings of Maya’s listless existence, marked by impulsive kleptomania and an overwhelming sense of loneliness. In an abrupt transition, her mother’s funeral sees the arrival of her estranged father, Sam, a charismatic international real estate agent returning after years of being absent. Wanting to make amends, he proposes to her a lucrative job involving high-profile foreign clients that initially seems like an escape from the suffocating grief and stagnant routine confining her. However, the allure of this “opportunity” quickly unravels, revealing something much darker than she could have imagined.
A breakneck pace frequently sacrifices character development for rapid plot advancement, mainly under developing the father-daughter relationship central in raising the stakes. Maya’s motivations to help her father, especially when his dark secrets are exposed, feel somewhat unbelievable due to the story relying heavily on a sentimental family photo rather than naturally exploring their connection. Kinetic pacing, while initially captivating, ultimately leaves the audience yearning for moments of reflection, particularly involving themes of loss and trust that lack depth. Dialogue often falls prey to on-the-nose exposition and awkward heavy-handed lines professing the character’s wants or feelings undermining emotional resonance. Unsubtle name-dropping of the title on multiple occasions exemplifies this issue. Turn of events and use of the spy genre conventions, such as the mission to hand off top secret information and dire high-stakes consequences involving double agents, do not have any nuance. Too much foreshadowing and over-explanation cancels out a sense of mystery. One has to wonder if such a well-worn premise would be made if not for the pitch that it was all shot on an iPhone, a nifty rising trend and cheap alternative, where a compelling story is no longer the priority.
Burger employs the shaky, handheld camera work that mimics Maya’s disorientation also making the shot-on-a-camera-phone technical specs obvious. Particularly what causes this awareness are confined spaces and locations that employ the need for guerrilla-style filmmaking, like scenes in international airports or on planes seemingly shot before anyone notices they’re shooting. Their inconspicuousness, however, adds a certain degree of tension complementing the thrill meant for a covert spy operation. The barebones style proposes a realistic mise-en-scéne to ground us yet the simplicity draws out the plain story. Many close-up shots, particularly moving shots, also feel constrained due to the weaker capabilities of the camera’s focus.
There are a few genuinely thrilling sequences, particularly the chase scenes in India, where the phone’s unstable distorted angle effectively conveys the chaos and danger of Maya’s predicament. These sparing moments only pick up later on shying short of the iPhone’s potential in complementing action-packed scenes. An international scope, with locations ranging from Cairo to Delhi to Seoul, offers visually striking backdrops. These locales are well utilized too, depicting a real-world look at diverse cultures without the selectiveness or glamorization a much more expensive production would entail, offering some nuance that enriches the narrative. Throughout are unconventional jump cuts and fragmented editing adding to a sense of spontaneity and subjective perspective, that also makes us aware of the behind-the-scenes process. Sometimes it works, other times it doesn’t when diverting attention from integral emotional moments. Performers are not given much to do, where the medium is the true star.
Despite piquing interest with avant-garde techniques and occasionally thrilling chases, this fashionable trend does not ultimately aid this story, instead simplifying or distracting from it. In a broader sense, Inheritance also proves that rather than being a reliable cinematic method, the iPhone is still in its early experimental stages of being a spectacle. This latest entry in cellular cinema is recommended to those interested in innovative filmmaking, yet those looking for a compelling spy thriller will find it predictable at best.
Classified as forgettable, Inheritance infiltrates cinemas Friday, January 24th.
