The Fall Line offers itself as a thriller that smoothly steers clear of the low hanging fruits of the genre. Instead of taking refuge in a jarring background score or heady visuals, it brings to life a world marked by an eerie silence and muted palettes.
Two rangers, Everette and Murphy, are wintering in a remote cabin at a national park. They are distinctly portrayed with opposing personalities, further revealed by the differing effects of the physical and mental isolation on them. The patience in one is offset by the annoyance in the other, if one's verbosity is notable, the other is defined by his laconic demeanour. It is precisely in this manner that the narrative draws you into its disconcerting developments without your being able to put a finger on what is exactly amiss.
The progression of events so far allows the film to succeed at invoking unease in the viewer, fulfilling its aim as a thriller. The final product thus becomes an engagement with the internal, disturbing aspects of the human mind more than the external, overt tools that are often employed within this specific realm of storytelling.
Read LessTwo rangers, Everette and Murphy, are wintering in a remote cabin at a national park. They are distinctly portrayed with opposing personalities, further revealed by the differing effects of the physical and mental isolation on them. The patience in one is offset by the annoyance in the other, if one's verbosity is notable, the other is defined by his laconic demeanour. It is precisely in this manner that the narrative draws you into its disconcerting developments without your being able to put a finger on what is exactly amiss.
The progression of events so far allows the film to succeed at invoking unease in the viewer, fulfilling its aim as a thriller. The final product thus becomes an engagement with the internal, disturbing aspects of the human mind more than the external, overt tools that are often employed within this specific realm of storytelling.
One day, I was listening to my favorite podcast "Lore," and one story was about two enemies who worked at the same lighthouse. Not to spoil too much, but the ending really stuck with me. I think because, at the time, I was going through depression. The story woke me up and made me realize I was isolating myself from everyone. As a result, I was left with the one person I hated. Myself.
So I took that feeling and ran with it. I put as much of myself into the film as I could. Everette was a version of who I was. Murphy was a version of who part of me wanted to be. As I wrote, I tried to live through the characters. I laugh at it now, but as I wrote I would ask myself, "Where would Everette work?" and "Who's the type of person Everette would hate." Answering those questions is how the story formed. Grounding the story in reality, I focused on the emotions I wanted to portray. Overall, 'The Fall Line' became a character study about a person who wanted to take the easy way out. I gave that character what he wanted and showed him how damaging isolation really can be.
So I took that feeling and ran with it. I put as much of myself into the film as I could. Everette was a version of who I was. Murphy was a version of who part of me wanted to be. As I wrote, I tried to live through the characters. I laugh at it now, but as I wrote I would ask myself, "Where would Everette work?" and "Who's the type of person Everette would hate." Answering those questions is how the story formed. Grounding the story in reality, I focused on the emotions I wanted to portray. Overall, 'The Fall Line' became a character study about a person who wanted to take the easy way out. I gave that character what he wanted and showed him how damaging isolation really can be.
Maryann LonerganDirector, The Fall Line
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