As a cinephile with a penchant for survival stories and a soft spot for films that delve into the human spirit’s resilience, I found “The Sand Castle” an intriguing, yet slightly disjointed, cinematic journey. The film, set on an abandoned island and centered around a family of four, seemed to be a modern-day take on Robinson Crusoe at first glance, but it quickly evolved into something darker and more thought-provoking.
The movie titled ‘The Sand Castle’ features straightforward components: a deserted island, an old, squeaky lighthouse, and a radio that intermittently works. At the heart of it are a family of four – a loving mother, a practical father, a rebellious teenage son, and a daydreaming daughter. Their existence is contingent on the laborious task of waiting and foraging, with hopes and prayers providing solace. They anticipate aid to arrive soon, but initially, this situation seems like a contemporary adaptation of ‘Robinson Crusoe’. However, it swiftly evolves into something more ominous and pertinent to current times. Despite Matty Brown’s cinematic approach resembling a children’s fairy tale rather than the intense thriller it occasionally hints at becoming, its indirect narrative style confuses its lofty aspirations and well-meaning message.
The tales of survival revolve around the determination and adaptability of the characters. Resources like food are scarce and clean water hard to find. Sleep is elusive and shelter precarious. Those who survive are those who can endure such conditions gracefully. However, in “The Sand Castle,” Brown (collaborating on a script with Hend Fakhroo and Yassmina Karajah), deviates from portraying the adults struggling to provide whatever sustenance they can or the teenager dismayed by their circumstances. Instead, the narrative primarily concentrates on Jana (Riman Al Rafeea), the young girl who spends her days exploring the beaches she now refers to as home, constructing sandcastles and forming friendships with ants she meets in the grass. She understands that her parents are waiting for something or someone. It’s clear they’re hoping for assistance, but also a means of escaping the perils and dangers they face on this unforgiving yet beautiful barren beach they’ve been stranded upon.
According to Jana, the perspective that drives the movie is her own, which is why the family’s past is depicted somewhat vaguely. The mere snippets of news reports about refugees on sinking boats are the only clues about Jana and her family’s circumstances. In a way, “The Sand Castle” resembles a retelling of “Life of Pi,” as the imaginative tales spun by its child protagonist could be masking a harsher truth better left unseen. The recurring visions of dead bodies, along with a girl’s shoe discovered in the wilderness, may suggest a more heart-wrenching tale than the peaceful one Jana is trying to create.
As I watch the movie unfold, I’m captivated by Jana’s whimsical thoughts shaping its visual narrative. Cinematographer Jeremy Snell masterfully positions the camera in close proximity, making small details like ants, flies, blades of grass, and grains of sand dominate the screen. It feels like peeking into the world seen through a young girl’s eyes, but more so, her imagination. Jana senses the urgency in their situation; her father Nabil (Ziad Bakri) tirelessly works on the lighthouse they hope will guide them to safety. Her mother Yasmine (Nadine Labaki) worries about their dwindling food supply and tries to find a signal for help through the radio. Through it all, Jana’s brother Adam (Zain Al Rafeea), initially consumed by his own angst and despair, eventually steps up to care for her when one hardship after another strikes their family.
The crucial aspect of casting, without a doubt, sets the stage for the discussions “The Sand Castle” aims to engage: Zain Al Rafeea was actually a Syrian refugee residing in Beirut when he landed the leading role in Labaki’s “Capernaum” (2018). Having Al Rafeea portray the son of his previous director and brother to his real-life sister is undeniably a daring choice, which may provide astute viewers with an insightful perspective to decipher what transpires with Jana and her family.
In “The Sand Castle,” not many significant events occur; instead, several peculiar incidents unfold (such as a failed fishing trip, an enigmatic object emerging from the sand, and a tempest damaging the lighthouse). However, these occurrences are portrayed in such a fragmented storytelling style (leaving us often unsure of the complete picture) that they feel more like fleeting, dreamlike images than concrete events. This stylistic choice is intended to keep viewers within Jana’s perspective, but it also intentionally shrouds, perhaps too obviously, the harrowing reality unfolding. As a result, this review must gloss over specific plot details to avoid spoiling the film’s intended powerful climax reveal. These frustrations are experienced while watching the movie, and are only partially alleviated by the final dedication card that outright states the film’s noble purpose.
The Sand Castle” subtly implies that this island and lighthouse aren’t as ordinary as they seem. However, it takes an extended period for the story to fully reveal this, which makes the film’s urgent message about the ongoing refugee crisis and its impact on children become somewhat obscured. While the movie is beautifully dreamy and boasts some captivating visuals, its poetic exploration of children’s imaginative power in overcoming trauma might be more intriguing conceptually than as a cinematic experience. As a political plea, it’s powerful, but its focus on the storyline makes it less impactful than intended.
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2024-12-14 09:47