Prison footage filmed by inmates themselves, showing a litany of disturbing attacks and readily available to watch online, provided the inspiration for Cal McMau’s directorial debut.
Originally intended to be directed by the Safdie brothers - of Uncut Gems and Marty Supreme fame - the film takes place in a generic UK prison.
The self-contained location here is both a blessing and a curse for any director. Distractions of individuals, narratives or film locations beyond the four walls are removed.
Consequently, the setting and cast must carry the weight of the story without any help from the outside.
In Wasteman, McMau uses the space well and helps bring to life some nerve-wracking characters, but the final product is just shy of great.
Taylor’s (David Jonsonn) 13 years in prison are nearly over. Early release is his, so long as he doesn’t stray from his good behaviour to date.
Good behaviour for Taylor thus far seems to have consisted of being a cook and giving haircuts to prison drug dealers Gaz (Coring Silva) and Paul (Alex Hassell), who pay him with their product.
He looks set to continue to drift and meander without much trouble.
That is until a new bunkmate enters the picture. Dee’s (Tom Blyth) arrival is followed by the announcement that he was transferred after starting a riot, creating an unsettling feeling that what was supposed to be a seamless exit will be anything but.
The pair’s relationship beginnings are surprisingly endearing, with Taylor revealing that he has a child and Dee offering him a phone to circumvent the mother’s attempts to block any relationship between father and son.
Dee kindly buys him gifts on his father’s behalf. Yet the revelation creates an undercurrent which will run until the end, as the opportunity to connect with his son, whom he has not seen since the boy was one, is perpetually at risk.
As expected, Dee looks to establish himself as top-dog in prison; his lack of interest in anything but his reputation and power within the ward makes for a worrying roommate.
Sure enough, Taylor is expected to help in the pursuit, putting his plans to leave quietly in jeopardy.
Moving along nicely, the two’s convivial relationship is quickly soured when Dee is attacked, and Taylor does not step in. His inaction was quickly punished as he must now repay a debt Dee believes he owes.
The very kindness Dee showed in helping him with his son, becomes the Sword of Damocles over Taylor’s head as the boy’s life is now in his hands. Jobs given become increasingly risky to the impending freedom until Taylor is finally put into a situation with no apparent way out.
Albeit many of the characters and storylines are not entirely new, they are well acted by the film’s leads. Blyth in particular displays impressive versatility, considering the stark contrast to his role as a young President Snow in the Hunger Games prequel.
While the film delivers an impressive end, the overall body is hampered by slow, meditative shots, which should heighten the sense of being trapped and life in prison being turgid, but instead act as breaks for the building of tension.
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Scenes recreating the phone footage which inspired the film do not carry the same impact as the real thing; a Channel 4 Documentary, the Secrets of UK Prisons: UNTOLD, is far more stomach-churning than the recreations in Wasteman, peppered in throughout.
The film’s opening scene was a brilliant start, and more of the same would have been of greater use to create the feeling of being stuck in a tumble dryer that McMau’s attempts to create.
Yes, he could do without those languid shots which are often an exercise in showreel or portfolio building, intentional or not, but while avoiding caricatures, McMau still manages to capture the grit, monotony and a sense of danger just one sharpened toothbrush away.
A strong directorial debut.
Wasteman is now playing in UK Cinemas.
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