Rust Didn’t Choose to Echo Its Tragedy, But It Courses Through the Film

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As a film critic with over two decades of experience under my belt, I have seen countless films that have touched me, moved me, and left me utterly speechless. However, none have ever left me feeling quite as conflicted and emotionally drained as the premiere of “Rust.

On a gloomy, chilly afternoon in Toruń, Poland, I found myself in a bustling theater, witnessing Alec Baldwin enact a scene that, unfortunately, became far from fictional. Although you may not have seen this particular film, the events leading up to it are now all too familiar. Three long years have passed since the set of Rust was turned upside down by an unfathomable tragedy. The cast and crew were unwittingly swept into a maelstrom of sorrow that seems more like a movie plot than real-life headlines. An urban legend before it became a matter of intense legal scrutiny – which, in at least two instances, led to consequences. The moment a live bullet discharged from a prop gun took the life of cinematographer Halyna Hutchins, the film transformed into an object of morbid fascination.

At its Camerimage International Film Festival world premiere today, a portion of attendees were undoubtedly drawn by the tail end of a lengthy, tough, and disgraceful chapter – a saga that has garnered unprecedented attention for a small-budget film aimed at older audiences. Outside the Toruń theater, journalists sought comments from audience members, some merely interested in watching the American western, while others – friends and family of Hutchins – were there to honor her life and accomplishments. This gathering embodied an uneasy blend of spectatorship and mourning.

For over three decades, Camerimage has honored cinematographers – unlike any other film festival I’ve been to, here is the only place where camera operators, DPs, and second-unit members receive applause, while writers, directors, and stars often get crickets. This event can be seen as an annual pilgrimage for the world’s top technical artists and beginners alike. The festival’s dedicated followers, unsurprisingly, have strong opinions about this premiere: Oscar-nominated director Rachel Morrison, whose film “The Fire Inside” was screened recently, voiced her disapproval on Camerimage’s Instagram; a secret WhatsApp group of regular attendees described the programming as “distasteful” and “out of touch”; a fellow journalist referred to it as “Rust day,” much like one would discuss an unpleasant medical procedure.

For many, the question of whether screening Rust was even a good idea stands purely rhetorical. But I’ll offer this bit of inside information: On my ride from the Warsaw Chopin Airport, I realized I was traveling among those closely associated with the film; one such passenger told me they considered this trip a key part of processing a friend’s senseless passing. In conversation they relayed further that the cinematographer’s widower and son alike wished for this final work to be seen.

The turmoil related to Rust between 2021 and now resonated within the raw ambiance of Cinema City in Toruń. If you’ve never passed through, visualize a typical small-town American multiplex, but with Polish movie posters instead of English ones. As I walked in, photographers were snapping shots, making it seem as if people with softshells and backpacks were the main attraction; upon entry, I saw more photographing Rust director Joel Souza and festival director Marek Żydowicz, engaged in conversation amidst the background noise and camera clicks. I observed Souza’s demeanor closely: his slightly stooped posture with crossed arms contrasted with a forced smile as friends and colleagues greeted him. This was an afternoon for solidarity but also for grief.

As part of the gathering, I was asked to rise in quiet reflection for Hutchins. Żydowicz and co-director Kazimierz Suwała then spoke with a measured tone that held an undercurrent of debate: Despite the many events unfolding since announcing Rust’s inclusion, they expressed optimism that we would “find ourselves validating the correct decision,” and urged us to observe the film merely as spectators, not witnesses of any tragedy or prolonged legal matters – “these aspects hold no further significance.

The main focus, however, shifted to Rachel Mason, Hutchins’s friend who is currently working on a documentary about the ordeal. Mason spoke at length, with strong conviction, about the dedication of the crew to the project in place of the cinematographer; this reached its peak when she read an email from Hutchins’s mother expressing her desire to see the film completed – a wish shared by herself, her late daughter, and her grandson who is now without his grandmother. There was no direct reference to Baldwin during these 20 minutes or so; any implied connection will have to be inferred through a general thank you to “the actors” who helped complete the film.

The western movie titled “Rust” truly lives up to its billing, being set in the 1800s Kansas and revolving around a 13-year-old boy who unintentionally kills a rancher and goes on the run with his grandfather. In “Rust“, the first gunshot is fired into an empty barrel, while the second shot results in a character’s unfortunate demise, causing an audible gasp from audience members at the premiere. Although I didn’t survey the packed crowd, their reaction seemed more like recognition rather than intense interest in the just-beginning plot. “Rust” doesn’t intentionally mirror its own tragedies, but instead, it flows with a compelling and competent narrative, providing an authentic western story that deals with themes such as guilt, accountability, family, law, and loyalty. The shocking moment arrives after some initial setup, but from the first two shots – a dramatic match cut between close-ups of Chris Hemsworth (Baldwin) and newcomer Patrick Scott McDermott’s eyes – it’s evident that “Rust” is distinctly different from the Randal Emmett studio, which provides aging stars with comfortable paychecks based on subpar material.

The exact percentage Hutchins was shot remains unspecified; it’s worth mentioning that DP Bianca Cline declined to claim credit for the wide-angle landscape shots, slow push-ins, deliberate zoom-outs, and tasteful use of silhouette in the film “Rust”. The main weaknesses of the movie lie in its attempt to balance three interconnected plots – an outlaw, a lawman, and a bounty hunter that seem to echo “The Good, the Bad, and the Ugly” – and a lead actor noticeably affected by his experiences. Baldwin’s performance appears inconsistent: His accent and acting style fluctuate from scene to scene, while his relationship with McDermott’s character swings between affection and indifference. The production schedules, disrupted by 18 months and one death, could be a plausible explanation. Perhaps it’s just uneasy watching him execute multiple shootings with a gun similar to the one from an iconic scene that does not appear in this final edit.

Following a press conference involving Souza and Cline, numerous references were made to Hutchins. Regardless of the questions or responses, the conversation always led back to a life tragically cut short. A particularly intense moment occurred when Camerimage’s skillful moderator asked how much of the remaining footage was shot by each cinematographer. In response, Cline expressed strong disapproval: “I think it’s an inappropriate question.” This could be attributed to understandable emotions, and a desire to honor Hutchins’ artistic talents seemed acceptable to everyone present. As soon as the event ended, I observed Cline and the moderator comforting each other.

This lengthy event wasn’t a breeze for anyone participating. I can’t imagine the ordeal Souza and Cline went through watching this movie, let alone dealing with people using their phones during the screening, which has been a persistent issue at almost every showing this year. The future of Rust is unclear. At the moment, no additional festival appearances have been announced; The Avenue, the distribution company that purchased the film for $2 million before production, doesn’t appear in the opening or closing credits and may not have any further responsibilities. Whenever it’s released, viewers will encounter a piece that offers both healing impact and simple enjoyment, steeped in morbid intrigue – a peculiar monument, an unpleasant footnote.

It’s hard not to ponder whether today’s events were unexpected; if, despite the fact that it has been released and is indeed a genuine film featuring scenes, actors, and dialogue – the movie Rust might never have truly been a movie. A quote from Hutchins that precedes its end credits leaves one struggling not to find heart-wrenching: “What can we do to make this right?

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2024-11-20 23:57