At last, everyone can see Jonathan Glazer’s eerie… | Little White Lies

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At last, every­one can see Jonathan Glazer’s eerie new short

25 Nov 2019

Words by Charles Bramesco

Group of people wearing dark clothing, against a dark background with a red text banner reading "THE FALL" at the bottom.
Group of people wearing dark clothing, against a dark background with a red text banner reading "THE FALL" at the bottom.
Masked fig­ures per­form a rit­u­al most sin­is­ter in the six-minute miniature.

Jonathan Glaz­er has been rather qui­et since he flat­tened movie­go­ers with his sci-fi mas­ter­piece Under the Skin in 2013, but that changed ear­li­er this year at the end of Octo­ber, when he debuted his first new work in half a decade. The Fall, an exquis­ite­ly unset­tling short film of near­ly sev­en min­utes, instant­ly yield­ed a strong reac­tion – from those who could see it, that is.

The short first came to the UK, sneak­ing up on some unsus­pect­ing audi­ences at brick-and-mor­tar cin­e­mas and avail­able to every­one else in the region via the BBC’s iPlay­er, where res­i­dents can still see it today. But Amer­i­cans remained out in the cold, until A24 pur­chased the nation­al exhi­bi­tion rights to the short and tacked it onto in-the­ater show­ings of The Light­house ear­li­er this month. (With their coarse­ly tex­tured atmos­pheres of ambi­ent dread, they make an apt dou­ble feature.)

The good news is that now, even those unable or dis­in­clined to trek out to the local mul­ti­plex can drink in the eerie men­ace of Glazer’s vision. A24 has made the short free to stream for all US res­i­dents with online access, and it’s a wor­thy fol­low-up to the strong prece­dent set by Under the Skin.

The short, a rel­a­tive­ly sim­ple con­cept tak­ing wing in exe­cu­tion, depicts a vio­lent rit­u­al exe­cut­ed by masked fig­ures. They shake their vic­tim down from a tree, string him up for a hang­ing, and let him plunge into a well. Once there, how­ev­er, he man­ages to sur­vive and begin the dif­fi­cult climb back to the light of day.

It’s a fas­ci­nat­ing exer­cise, espe­cial­ly when con­sid­ered as an addi­tion to Glazer’s body of work, steeped as it is in soci­etal alien­ation. And one needn’t dig all that deep to appre­ci­ate the for­mal rig­or of the piece, as Glaz­er embeds squares with­in squares, per­vert­ing the lim­its of his frame.

All we can do now is wait for the Holo­caust dra­ma A24 said he’s shoot­ing next year, and won­der how much hard for­mal­ism can fit into a film about his­tor­i­cal human tragedy. What fun con­ver­sa­tions this will spark!

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