THE STORY – Two friends, embark on a disturbing mission in the Michigan woods. As they trudge through the forest, their intentions become increasingly clear. When their plan ultimately unravels, one of the friends must return home to face the surreal and unsettling consequences of their actions, grappling with the legal and emotional repercussions that follow.
THE CAST – Joel Potrykus, Joshua Burge, Bill Vincent & Solo Potrykus
THE TEAM – Joel Potrykus (Director/Writer)
THE RUNNING TIME – 85 Minutes
You should never do this. But sometimes, it’s unavoidable and a sensation we’ve all felt. Sometimes, a film begins, and you think you got it figured out. Assumptions are made, and prejudgement sets it, not even to any tone that is inherently negative but one that ultimately believes the kind of story that will play out is going to be familiar and understood. It’s a habit formed by watching a wide range of films and getting a sense of what will be in store for an audience by the opening minutes. This is, after all, the most practical form of storytelling, and one might believe that from the opening minutes of “Vulcanizadora,” you know exactly the kind of ride you’re in for. To an extent, those presumptions do come to fruition. However, there is another layer that is slowly revealed through this brisk runtime that showcases a grander thesis on lonely souls that wander through a dark environment, bursting with twisted humor and genuine pathos. It’s an odd demonstration that manages to provide an enthralling experience.
The initial premise is introduced with equal measures of simplicity and absurdity right away. Two friends, Derek (Joel Potrykus) and Martin (Joshua Burge), are walking through a Michigan forest during what appears to be an impromptu camping trip. The two are a mismatched set of personalities that cause an immediate clash between them. Derek is high-energy, chatty, and a complete oddball who is obsessed with spewing random facts and hyping up his own prowess. Martin barely speaks, being much more in control of his emotions but also carrying a mysterious angst with an undercurrent of danger. Not much is known about their venture at first. They seem to be heading towards some destination and bide their time by filming silly videos on ancient DV camcorders or setting off explosive firecrackers of varying intensities. Their endpoint involves a morbid pact the two have made, though crossing that threshold will not prove as easily as imagined, nor will the ensuing fallout be free of difficult consequences.
Potrykus, also serving as the film’s main creative force as writer-director-editor, has always had a filmography brewing with strange and idiosyncratic tendencies. Within the opening frames, we are subjected to harsh and aggressive metal music that quickly cuts to the quiet and somber pacing of this lonely trek. It’s an obvious juxtaposition that does quickly allow tedium to set in. You are taken in by the audacious nature, utilizing the grand space of the woods to create the physical distance between these two men that matches their emotional states as well. The grainy 16mm film also captures a peculiar sense of time that’s not quite nailed down. The world feels modern, but their old cameras, Walkmens, and computer speakers are still in use, at least by Derek, which further emphasizes his strangeness. The aesthetics aren’t meant to capture the beauty of nature, though there is one particular shot of dozens of black fire snakes being ignited to put on a mesmerizing display. However, the momentum has stagnated for some time, as if most of this were merely filler for something more interesting on the horizon.
That revelation eventually comes, an act the film tactfully teases as the characters eventually make their way to a secluded beach. It is here where the narrative opens up to much more meaningful depths. What started as an examination of opposite personalities butting heads on a wacky endeavor instead blossoms into a more serious mediation, one that features discussions of theology, mortality, guilt, and regrets. It’s a swerve that isn’t initially expected and one that hits with a greater impact because those details are obscured within the narrative. Upon the exposure of this thematic commentary, Potrykus crafts a true roller coaster of feelings that can indulge in humor, suspense, and heartbreak at a speed that never feels ungainly. The storytelling evolves into a much more engrossing portrait of festering anxieties, causing internal scars that can penetrate deep. The messaging is so effective that the finale feels like it loses the thread, minimizing such introspection for more of the cheap jokes it started with. It’s still mostly compelling, but not as much in the heart of the story that felt so richly textured.
There is also some slight deception to be had in the performances at the center here. Derek is clearly meant to be a silly figure, which is immediately communicated by his long beard and receding hairline, which also makes him look like some bizarre figure from the past. His endless motormouth is an obvious foil to Martin, and it seems like the dynamic is sewn up. Yet, Potrykus does mine some depth here, especially when confronted with a momentous deciduous that unearths his own complicated insecurities and brings greater dimension to what could have been a note-note caricature. However, Burge delivers that far more captivating work. The quiet reserve he embuses within Martin is a chest that holds an entire world underneath. What seems like a quiet loner has been built up that way through tormenting remorse. When confronted with his actions, there is an authentic sadness that can run across his face, detailing the weight of every decision needed to take in order to accept the responsibilities of his flailing existence. It’s a deeper portrait that Burge masterfully captures through small interactions, making a powerful impact in moments that can be ludicrous while also achieving an effective poignancy.
The odd thing about “Vulcanizadora” is that it defies expectations before returning to its norms in the final moments. The overall story does lose steam toward the end, as if it feels obligated to revert back to its original tone, and has fewer moments of contemplative reflection that made it so powerful. While its bookends are not as strong as the meat in the middle, what is here remains an engaging effort. The filmmaking crafts an intimate scenery that navigates tricky terrain but ultimately finds the humor in this dark tale while also showcasing a resonant analysis of metastasized isolation. With a pair of enticing performances at the center, the film leaves a lasting impression, even though it might initially seem like a fleeting exercise. Stick with it. It’ll be worth it.
