Inheritance

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In 2023, Phoebe Dynevor captivated many viewers, including myself, in the psychological thriller “Fair Play”. Following this, she delved into the espionage thriller titled “Inheritance“. Her most recent project is “The Globe-Trotter”, directed and co-written by Neil Burger. This film takes Dynevor on a worldwide journey, visiting iconic cities like New York City, Cairo, Delhi, and Seoul. However, what truly distinguishes the movie is its innovative storytelling.

In “Inheritance,” co-written by Burger and author Olen Steinhauer, the narrative may not introduce groundbreaking concepts. However, what initially seems like a common espionage plot thickens into something more profound. Hidden among the predictable beats of an espionage film lies a deeply emotional story about a grieving young woman who longs to reconnect with her distant father. This tale is as much about her vulnerability as it is about her cautious attempts at healing.

What truly sets this apart is Burger’s unconventional filmmaking style, particularly his daring experimental techniques during shooting. The movie “Inheritance” was filmed exclusively using an iPhone, without any gimbal or additional lenses. There were no boom operators, only wired lavaliere microphones, and there was minimal use of special lighting. This raw approach results in a striking documentary-like style as Burger discards conventional filmmaking methods in favor of what he terms a “stolen aesthetic”. By this, he refers to the remarkable freedom he had to capture scenes unnoticed, whether on commercial flights, passing through customs, or navigating bustling city streets.

As a cinephile, I must say that “Inheritance” is breaking new ground by being the first iPhone-shot film to tackle such an expansive, globetrotting narrative. The production seems to have navigated around constraints and red tape with a palpable sense of urgency that only adds to the movie’s suspenseful atmosphere. Moreover, the cinematography and editing, courtesy of Jackson Hunt, Nick Carew, and director Simon Burger respectively, are nothing short of remarkable – elevating the film beyond a mere gimmick and into an essential storytelling device for immersion. The results are truly impressive.

In a different take: Emily Dynevor portrays Maya, a somber young lady grappling with the fresh grief of her mother’s demise. At the funeral, she and her sibling Jess (Kersti Bryan) are taken aback by the sudden emergence of their long-absent father, Sam (Rhys Ifans). He promptly endeavors to rekindle his relationship with Maya, yearning to atone for abandoning them. Her inner voice warns her against trusting him. However, the prolonged agony of witnessing her mother’s nine-month illness has left her vulnerable, making her consider giving her last parent another opportunity.

In a nutshell, Sam is a premium international real estate broker who extends a job offer to Maya as his assistant, despite her sister advising against it. Instead of taking her sister’s advice, Maya decides to work for her father and they both embark on a journey to Egypt. Burgers subtly raises our suspicions without giving clear answers, leaving us guessing. So, what is Sam up to? What are his true intentions? Are we overthinking or is there a sinister plot at play? It doesn’t take long for Maya to start questioning herself, beginning with the realization that Sam is using an alias during their travels.

However, things take a dramatic turn when Maya and her father meet for dinner in Cairo. While he steps away to answer a call, Maya’s phone suddenly rings. On the line is Sam, instructing her to swiftly grab his iPad and exit the restaurant. As she rushes out, multiple police cars zoom up, and officers flood the establishment. Her phone rings once more, and it’s Sam who informs her that he has been abducted.

In a sequence of happenings, Maya discovers that her father has been abducted. The captors demand she retrieve something in India, or they will harm him. Faced with a tough choice, our protagonist must decide: does she risk herself to save her father and journey to India, or does she heed her sister’s advice and return immediately to New York? Ultimately, Maya chooses to go to India to aid her father, hoping to preserve their recent bonding time together.

In a simpler and more natural way of expression: Dynevor delivers an outstanding performance as an anchor. From the beginning, it’s evident that Maya is not a secret agent. She doesn’t possess any special skills, and she soon finds herself in a situation far beyond what she can handle. Through Dynevor’s acting, Maya’s fear, anxiety, and suspicion come across as very real and almost tangible. However, the actress also portrays determination and resilience that enable her character to confront whatever comes her way.

Once more, “Inheritance” adheres to many conventions seen in spy films, but it’s far from predictable. It delivers both unexpected plot twists and innovative techniques. Dynevor shines as the solid protagonist, while Ifans impressively maintains an air of mystery. Furthermore, the spontaneous filming style and dynamic visuals create a vivid portrayal of foreign cultures, only to follow it up with a heart-pounding motorcycle chase. In summary, these elements combine to make “Inheritance” a delightful early-year treat.

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2025-02-06 18:57