THE STORY – After spending a lengthy bid in prison, Taylor has the chance for a fresh start with early parole. What starts as good news turns sour as these dreams of freedom are soon put to the test as his hopes are put at risk by the arrival of Dee a charming yet erratic cellmate.
THE CAST – David Jonsson, Tom Blyth, Alex Hassell, Neil Linpow, Corin Silva, Layton Blake, and Cole Martin
THE TEAM – Cal McMau (Director) & Hunter Andrews & Eoin Doran (Writers)
THE RUNNING TIME – 90 Minutes
The opening of Cal McMau’s “Wasteman” immediately emphasizes the threats incarcerated men experience in their daily lives. Audiences understand this rapidly as they witness, through the perspective of smuggled iPhone footage, two prisoners being harassed and brutally assaulted. One of which is our protagonist, played by rising superstar David Jonsson. The cell phone, which becomes a constant of sorts in McMau’s exuberant prison drama, is a portal. A gateway to a world these men might never see again, let alone one that won’t make any attempt at reform, dooming them to a life of recidivism. Even though the prison system of the United Kingdom appears slightly more lenient in its approach to ruling on how prisoners’ ability to keep contraband in what is a natural way to support a more homely lifestyle, at the end of the day, it’s still prison. It’s a violent, unpredictable, and at times inhumane way of living that these men are subjected to. That’s why one would do anything to make sure they can get out.
It makes sense that after spending many years inside, David Jonsson’s Taylor has accepted his life in prison. The soft-spoken inmate mainly keeps to himself, cutting hair to score enough contraband cooking materials to serve himself (and occasionally others) and enough narcotics to keep him in a state of perpetual ease. That’s why it’s all the more surprising when he learns he has the possibility of being released early on parole. Taylor, now instilled with a new sense of motivation, is aiming to clean up his act to fulfill the requirements needed to leave. Of course, it’s always easier said than done, especially when Tom Blythe’s Dee becomes Taylor’s new cellmate. Dee is a brash young man, as intimidating a presence as he is easy to get along with – as long as no one crosses him. These two men’s bond is the crux of all the chaos that transpires in “Wasteman,” as both performers are in top form.
Jonsson, who isn’t showing signs of slowing down in terms of the excellent work he’s been doing, switches it up once again. He approaches Taylor with a gentleness that is not only easy to root for but also allows room for the dark paths where his character heads down. Every moment he’s on screen, he’s able to take up the space in spades purely by the way he can move his eyes. It’s tragic, especially seeing the influence someone like Dee has on his character. Blythe, who also continues to impress, further showcases his range as an actor, calibrating his natural magnetism into something sinister. It’s easy to be gravitated by Dee’s orbit as the story perfectly blurs the thin lines of friendship and parasitism. It’s as delightful watching the pair sweatily dance in impromptu drug-fueled boiler cell parties as it is seeing them switch gears on one another.
The screenplay by Hunter Andrews and Eoin Doran sets up the central dynamic, even though the story of a prisoner seeking parole is a familiar trope in this genre. What distinguishes “Wasteman” is McMau’s direction, which brings vital energy and prevents the film from feeling monotonous. At its most intense, the film feels like a rave coursing with relentless energy. Even the quieter, emotional scenes—usually between Taylor and his son—maintain this intensity. McMau’s vision is reinforced by Lorenzo Levrini’s cinematography, which uses vibrant and immersive visuals. Their use of the camera in cramped prison spaces highlights the restrictive nature of the setting, making the atmosphere more immediate and intense.
The soundtrack, produced by Forrest Swords, is otherworldly. The bass-boosted pulsations guide each sequence, almost akin to what Labyrinth does with “Euphoria.” Yet what Forrest Swords does here is harsher in the sounds he creates while still being at its core sonically entrancing. It more than perfectly fits the vibe McMau wants for “Wasteman,” and the technicality of the film on the whole is what sets this film apart from most prison dramas in recent memory. It’s an impressive feat to take one of the more unglamorous institutions of society and dress it in a way that not only acknowledges its flaws but also gives it a sense of energy. There’s an entirely different ecosystem that transpires in it that these men have to adjust to. This only adds to the audience’s intrigue that a kind yet flawed soul like Taylor would go down a path where there’s no coming back. For a debut feature, McMau sure makes a statement, even if the film as a whole still rides a wavelength that may not be viewed as grand as some others playing at the festival. Still, “Wasteman” might be one of the bigger surprises this year at the Toronto International Film Festival and certainly one to keep your eyes on.
