Breakwater

The only other film made by Oxford University was over forty years ago, a comedy whodunnit called Privileged starring a young up-and-comer named Hugh Grant. It’s not hard to imagine that in a couple of decades time, Breakwater may be remembered fondly as the debut of filmmaker Max Morgan and his talented creative team.

Otto (Daniel McNamee) is a wayward young man who’s disconnected from his girlfriend, hometown and anyone around him, counting down the days before he starts at Oxford. After throwing himself in the sea one morning, he’s saved by John (Shaun Paul McGrath), a gruff local who people blame for the mysterious death of his wife. Through a series of mostly silent encounters, the pair form an unlikely bond that seems to make sense to Otto in a way no other relationships do.

Steven Spielberg once used the phrase “keeping the camera quiet” to discuss the filmmaking process of Lincoln, and the same can definitely be said of Breakwater. Long silences punctuate the drama, and yet narrative momentum is never lost. Every moment, look and expression is layered with emotion and depth of character. It’s the story of someone quietly unravelling as they use another as an anchor, whilst a ghost story is delivered as it should be; in the background, disguised.

The cinematography encapsulates the sweeping vistas of the South Coast, as well as the minute intricacies of Oxford libraries and chapels. It’s more than just gorgeous settings though, as director of photography Evan Bridges isn’t afraid to take bold risks with lighting and staging. Snatched conversations between barely lit faces mix intrigue with a sense of danger, and the final moments cast against a glorious sunrise will stay in my head for a long time to come.

Everyone in Otto’s life is distinct and well-played by their actor, even if they perhaps occasionally lack more detailed characterisation that would benefit them. Agnes Halladay and William Gao convincingly portray people trying to get through to Otto in very different ways, whilst McGrath weighs John down with a naturally haunted look that fits perfectly within the unfolding narrative. Whilst attending the world premiere at the Raindance Film Festival, I was fortunate enough to get to ask the team about their film’s relationships with ghosts. They said they’d pared back the supernatural elements to an absolute minimum from the original script, and it seems they’ve landed on the exact right amount for the story being told.

In spite of a first act that perhaps takes a little while to get underway, once it does the narrative casts a spell that’ll pull you in like a merciless riptide. It’s fair to say that Oxford University’s contributions are now two-for-two, and we can only hope for more great work.