As a seasoned cinephile with over three decades of movie-watching under my belt, I must say that “Vulcanizadora” has left an indelible mark on me. This film, much like a Michigan forest, initially seems ordinary, but as you delve deeper, it reveals layers of complexity and intrigue that are truly captivating.
A leisurely walk through a Michigan forest by two men, who seem to argue pointlessly, might not initially capture one’s interest. Yet, writer-director (and actor) Joel Potrykus skillfully delves into the depth of their human story in “Vulcanizadora.” This peculiar, gradual buildup unfolds a dark agreement that ultimately unravels, offering a compelling exploration of its consequences.
The grainy, subpar video clips of arson and mayhem serve as a captivating introduction to the movie’s immaculate, scenic 16mm shots of a countryside pathway. This location forms the backdrop for most of the film, as directed by Potrykus, where he portrays Derek Skiba, a character who is troubled, anxious, and at times grating. Derek contrasts sharply with his friend, Martin Jackitansky (played by Joshua Burge), who appears less than amused by Derek’s childish behaviors. Instead of sharing in Derek’s excitement for shooting firework videos on their old Handycam, Derek and DV tape, Martin seems to have a different purpose, although the movie keeps us guessing.
Despite the ongoing tension between them, they remain committed to their shared goal, which leaves viewers curious about their destination, motives, and their unbreakable bond. Although initially obscure, these mysteries are hinted at through scenes of Derek’s rebellious teenage behavior, subtly showcasing Martin’s melancholic demeanor in the background, even when slightly out of focus. As the story unfolds, crucial details emerge in a straightforward dramatic manner, appearing less like information overload and more like two men confessing their secrets, with Derek attempting to disrupt their plans along the way. (Burge, a frequent collaborator with Potrykus, demonstrates an exceptional understanding of both the script and the technique.)
A significant portion of the movie’s impact stems from Potrykus’ portrayal of a character reminiscent of leading men in studio comedies like Adam Sandler or Will Ferrell, yet he skillfully uncovers the complex aspects of Derek’s actions. The true essence of their agreement, though seldom explicitly stated, becomes increasingly clear as they confess their guilt and depression. As the story unfolds, it not only reveals the nature of the bond between them but also sheds light on the movie itself.
As they trekked through uncharted territories, the pair seldom came across any other individuals, making one wonder if there was a reason for their journey in the first place. Could something have gone awry in their hometown? Has the world come to an end? Regardless of the actual truth, the figurative answer is undeniably ‘yes.’ These men are hanging by a thread, pushing themselves into a symbolic limbo. They now stand on the brink of nothingness, yet ironically, the outcome remains comical, even under such a profoundly introspective perspective – maybe it’s the absurdity that makes it so amusing.
Unlike typical studio comedies, “Vulcanizadora” features a more contemplative energy from director Potrykus and cinematographer Adam J. Minnick, with some exceptions such as the quirky, high-tempo action sequences set to heavy metal. The film’s framing has a soft, nostalgic quality reminiscent of memories captured in photographs or postcards, and it frequently presents long, undisturbed close-ups of the two protagonists battling against an overwhelming despair as they grapple with spiritual questions that remain elusive to them.
Despite the apparent gravity and maturity issues they seem to struggle with, there’s a playful immaturity that persistently emerges, making even the darkest scenes appear comically ironic. The agreement in question, though lethal, involves vibrant fireworks and a homemade device reminiscent of the infamous “Saw” traps. It’s more absurd than one might expect. The conclusion, filled with legal and ethical complications (though less is revealed initially, the more surprising it becomes), unfolds in the film’s leisurely final act, offering a bizarre and unexpected twist.
As the final credits unfold, “Vulcanizadora” delivers an unexpectedly emotional punch by portraying mid-life crises and two men who are disillusioned with the world and their own choices, leaving them trapped in despair. Transforming such raw feelings into a structured drama is challenging, but to mold it into sharp, self-reflective humor is even more difficult. Yet, remarkably, Potrykus manages to pull it off.
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2024-08-23 16:18