Walter (Isaac Kragten) is the son of a mortician, and he’s likely to inherit the family business one day. That’s the last thing that Walter wants–and he believes that he’s found a way out. Walter and his brother Martin (Zander Colbeck-Bhola) break into the houses of people who have just passed, and they find things to sell. When one job doesn’t go as planned, Martin and Walter find themselves in a precarious situation–and The Wake tells the story of these two brothers as they attempt to free themselves from the constraints of the family business.
In a dark and ominous film, Writer-Director Luis Gerard has to find a way to appeal to audiences–he has to find something to root for; in this case that thing is Walter. Walter is young, passionate, and it seems that he has some sort of an idea of the direction in which he wants to go as he grows up. All of these qualities allow viewers to appreciate him–even if some of the decisions he makes throughout are less than moral. The ability of Walter to resonate with viewers comes both from the writing and Kragten’s ability to bring the character to life. Gerard creates this young character in a dynamic, seemingly ever-changing way–and the reality that he’s so multidimensional allows a wide range of viewers to find reasons to fall in love with him.
Equally as important as writing the character is finding an actor capable of bringing these many dimensions to life; and I think it’s safe to say that Kragten was the right person for the job. Kragten is powerful in his performance, and he commands each and every scene in which he takes part. There are times when Walter is meant to be the subservient character in a scene, and yet, Kragten still manages to steal the spotlight and take charge without going over the top. The Wake ultimately rests on the shoulders of Kragten–and he successfully carries it from beginning to end.
This film is incredibly dark–dark in regard to the content. The score present throughout the film’s entirety adds to the darkness, and it does a wonderful job of drawing viewers into The Wake, keeping them engaged, and strengthening each and every scenario depicted on screen. The sounds are harrowing, powerful, and they transcend the entirety of the film. Without this score, as good as the rest of The Wake is, I’m not sure that it finds the same success.
The narrative is brilliant, and it’s constructed in a way that works to constantly throw viewers for a loop. There is a singular narrative being told here, but it’s intentionally fractured, intentionally told in a way that keeps viewers guessing. Telling The Wake in the way that Gerard does, it keeps viewers engaged–it constantly forces them to guess at what’s happening now and what’s going to happen next. When viewers are essentially playing along, it creates a bond with the film, and it allows viewers to find more reason to appreciate all that is being said and done. The Wake invites viewers in early, and it keeps a hold on them throughout. This film is so wonderfully written–and Gerard constructs the film in a way that’s truly breathtaking.
The Wake seems like such a simple concept–something that might easily make its way toward completion. Sure, it’ll entice a few viewers along the way due to its dramatic elements–but Gerard thought bigger. He and his team knew that there was more to this film than what might initially meet the eye, and they fully went for it. The Wake is riveting, it’s engaging, and it’s everything that I could have hoped for in a short drama. As The Wake moves forward, every twist and turn is necessary, and each piece of this ever-changing puzzle plays a pivotal role in the overall story. I’m impressed with the acting, the changes in the aesthetic tone, the score, and just about everything in between. The Wake is a powerful film about greed and passion–and it hits every note with precision–ultimately creating a wonderfully entertaining short film.
Written & Directed by Luis Gerard.
Starring Isaac Kragten, Zander Colbeck-Bhola, Robert Fulton, Kirsten Johnson, Shirley Delang, etc.
⭐⭐⭐⭐⭐⭐⭐⭐½/10
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