Izaokas (Isaac)
IZAOKAS - FILM JAMJurgis Matulevičius, a thirty-one-year-old Lithuanian filmmaker, delivers a visually stunning debut feature. The elements of the screenplay, however, sadly hold the film back from being truly great.
Izaokas is introduced as a film about the Holocaust with its opening scene; in reality, it addresses the guilt and trauma experienced by the lead, Andrius Gluosnis, after events from his past resurface alongside an old friend, and filmmaker, Gutauskas. This makes for an intriguing premise, but when a subplot involving the Committee for State Security (KGB) is presented, the film loses track and is distracted by its own components.
The first half is engaging and easy to follow, as the audience witnesses the incredible opening scene like just another set of eyes in the film. Watching bits and pieces of the main plot unfold through Matulevičius’ filming, equals an absolutely gripping first and second act. The set up of the characters hypes the viewer to see how they evolve, yet unfortunately, there are very few moments like these in the third act.
Each scene includes elaborate long takes that other directors wouldn’t even dare to attempt — let alone a director so young in their debut. The handheld camera and tracking shots make the scenes realistic and tense in their presentation. Most of Izaokas is shot in black and white, skillfully utilizing the grayscale, while making the scenes with colour especially stand out. Due to this, the three acts feel very distinct from each other. There isn’t much of a reliance on music, however, when implemented, it is Russian post-punk rock. This is an interesting and bold choice byMatulevičius, which sometimes works, but other times doesn’t. In the second case, it throws off the tone as it oddly stands out in a period drama.
Although the film presents itself as an intense dramatic thriller, the screenplay gets lost in its own complexities as it progresses toward the third act and becomes convoluted toward the end. Thankfully, the film ends before it turns into a complete disarrayed mess — unavoidably, this causes the ending to be somewhat unsatisfying.
Izaokas is a feat for a debut feature, however, there are a plethora of issues in the script that could have been resolved in pre-production. Matulevičius is surely a director to look out for in the future whose potential is evident in the shot composure and subject matter.
