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INTERVENTION attempts on a micro-budget to piece together some of the concepts from films like, “Memento” or “Identity” and a couple of others that I can mention using the new format of the successor of the found footage film, the video conference call.
INTERVENTION embodies a mix of the verbal and the visual. At the same time, there is not much information regarding the plot. Some of the story comes through “clues,” notes from Laura’s computer. The way the cursor reveals what is written there is not funny: it glides against the words like a game show model sliding to uncover a prize. It is condescending and annoying how often that happens. It is fortunate for the director, Samesh Ramjattan, that he does not play poker. He casts the actors in ways that most of the time give away what their general characters are to Laura. The first scene has Laura’s computer which she starts poking through before answering the phone. The last act has images and videos both in poor recommendation and poor execution. Not even saying it was a choice of style. Where, again, does seem cheap. The abrupt stop of sound when the focus changes to a new speaker happens a lot with low bandwidth on video conference calls. It just becomes another annoying element of the film. The film brings in elements of witchcraft and makes a grand supposition.
As the narrative unfolds, we are dragged through the tortuous web of Laura’s life, and as you might have guessed, it all begins yet again the next morning when she tries to reconcile all of the pieces of the puzzling aspects of her identity.
In the midst of this, there really is no progress in terms of story because the only ‘action’ if it can be called so, is the switching of speaking characters and the layout of the screen. The ‘rooms’ these characters inhabited are two-dimensional. There is a lack of set decoration. To liven things up a little, it would have been brilliant to have one or two of the characters on smartphones in a more decent setting. The only recollection I have of music is from Daniel Patrick-Murrell, who got a score credit, theme. And that is not a score. The costumes are pragmatic, so not great, but suitable.
In the hopes of glazing the tale and engaging one in it, the actors go out of their way, but the format proves them still. While the performances are impressive, the film does not aid in any design help to assist them in shaping their characters within the drama. That too is frustrating when the characters are all no longer having inner monologues but rather conversations and in a split second, they are starting on one another’s lines.
It seems that the piece by Samesh Ramjattan, named INTERVENTION, is incomplete. The film’s lack of suspension and energy is an outcome of the gaps in the premise and the focus. Admittedly, there is an intriguing combination of concepts, but the principal character’s trauma feels no substance. The set of events portraying the trauma feels shallow. To conclude, this film should have been focused on more precise plotting because it could have made for a much more captivating and enjoyable experience. Instead, with a runtime of an hour and forty-four minutes, it is tedious and boring.
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