Review: Silence is ‘The Demolisher’s greatest asset (Includes first-hand account)
Most people are familiar with the five stages of grief: denial, anger, bargaining, depression and acceptance. However, the journey past the second step can be more difficult for some, leaving them in a prolonged state of madness. These individuals are more easily driven to bad decisions as they attempt to channel or bury their wrath, which can manifest in hair-trigger tempers or substance abuse. In The Demolisher, a man directs his pain into vigilantism.
Samantha (Tianna Nori) was a police officer injured in the line of duty. Now she’s confined to a wheelchair and her husband, Bruce (Ry Barrett), must help her complete everyday tasks. Bruce is undeniably committed to his wife, but he also requires an outlet for the built-up rage he feels about her condition. Therefore at night he dons an anonymous riot squad uniform and hunts members of the gang who wounded Samantha. However when the couple loses a precious symbol of their love, Bruce’s fury explodes in hysterical bouts of violence. When he tracks the priceless objects to a greedy yet naïve woman (Jessica Vano) he is unable to control his anger, resulting in a frenzied chase across the city.
One aspect that really stands out in this movie is its lack of dialogue. And with Bruce often shielded in the suit, it’s not even a matter of reading the actor’s facial expressions. Instead, these scenes are driven by the music and raw sound effects that accompany them. The score often matches the violence of the moment, prompting viewers to experience the intensity of these sequences. Watching Bruce lose it to industrial sounds and heavy percussion is a stark contrast to the near silence heard as he is seen carrying his wife from the bathroom and helping her get dressed.
In another scene La Garconne’s “Super Hero,” a song about feeling powerful and invincible, plays as two of the characters try to reclaim control in their lives. It’s one of the most commanding sections of the film as the lyrics perfectly represent the characters’ emotions, while the electro-pop tune is interrupted by the on-screen aggression. With limited discourse throughout the picture, the soundtrack is virtually another character moving the narrative forward.
Writer/director Gabriel Carrer takes a 40-page script and turns it into a stimulating 85-minute movie that takes audiences on a visceral journey of unobtainable redemption and determination. Bruce is trying to atone for events that were never in his power to prevent, while Samantha both tolerates and supports his need for revenge. In spite of the limited verbal communication throughout the film, it establishes a complex dynamic between the couple. Most of what occurs between them is unspoken or consists of Samantha trying to have a conversation with an increasingly withdrawn Bruce. The woman, whose story parallels theirs, is much more vocal until she is confronted by the man in the suit; though her affirmations open and close the picture.
Intercut with obscure moving images of the surrounding city, it’s depicted as a dark and menacing place where alleys and laneways play host to unseemly exchanges. While the city in which the story unfolds is irrelevant, it’s worth mentioning that there’s no attempt to disguise the fact the film was shot in Toronto. For a city that regularly stands in for other locales — real and imaginary — it seems worth mentioning.
The inspired Canadian drama had its sold-out world premiere at the Fantasia International Film Festival.
Director: Gabriel Carrer
Starring: Ry Barrett, Tianna Nori and Jessica Vano
