From directors Hendrik Cronje and Mari Molefe Van Heerden, and screenwriter Reine Swart, The Forest is a welcome breath of fresh air in the indie film circuit. A classic dystopian narrative with a unique thread of sensitivity and mystery woven throughout the narrative. The Forest follows Heinrich (Ruan Wessels), a young man who believes he is the last man on earth as he hasn’t seen any evidence to the contrary. With the cities destroyed by nuclear warfare, he wanders the wilderness as a nomad.
There is a great sense of connection between Heinrich and the vast forest that surrounds him. He has a deep respect for the environment, pointing towards a wider message encompassed by the film. Heinrich’s connection is founded on the fact that nature sustains him. All of his food and shelter come from the forest. He is guided by a naturalist’s notebook that contains all the edible plants and fungi. Despite his solitary existence, Heinrich seems perfectly content.
But then he starts to see things. Or, more accurately, someone. A woman skirts the edge of his consciousness, his peripheral vision, with such delicacy that she could be nothing but a dream. There seems to be no threat from the woman, who behaves somewhat like an inquisitive deer, so Heinrich is more bemused than cautious. Eventually it becomes clear the woman is more a part of reality than his imagination and the pair make a connection. Although she is unable to speak, Em (Simone Neethling), as Heinrich eventually learns, has powers much greater than he could have imagined.
A beautiful narrative between the pair unfolds. There is a uniqueness in the way their narrative is represented by the filmmakers as they often favour extended periods of silence. Rather than feeling sparse, it has the effect of a wide open space – much like the forest. It seems to give the pair space to breathe. This is a sharp contrast to the antagonists – a group of bandits led by a man called Samuel (Roderick Jaftha). They speak much more and the result is somewhat claustrophobic in comparison. This is fitting as Em was being held captive by them, and the bandits are eagerly seeking her safe return, even if this means dragging Heinrich along with her.
The bandits are a great bunch of characters, led by the charismatic and cunning Jaftha as Samuel. Charlie Bouguenon, Solomon Cupido and Roy van Eck each add their own nuance to the group creating an interesting dynamic. There is respect but also a great deal of unrest within the gang. Each personality contributes something to the narrative – none of them are disposable. Roy van Eck as Mark is especially captivating and provides some of the more emotionally challenging aspects of the film as you see a kind and sensitive man be forced into the role of a brute because of his impressive size.
Ruan Wessels as Heinrich has an incredibly captivating hero-like quality. It never strays too far into the realms of fantasy, but there is a definite prince-ness about him. Simone Neethling as the mysterious Em is more nymph-like than princess, which suits the woodland setting just fine. She’s positively enchanting and a pleasure to watch. It’s an interesting take to suggest that the result of sinister clinical trials could be so beautiful on the outside while holding vast dark power within. I particularly enjoyed how this dark power never overwhelms Em – it would be a predictable twist for her to become consumed by her power. But alas, the writing of The Forest keeps it fresh until the very end with a twist really seals the deal.
The stunning visuals are captured by director of photography Philip Van Zyl and accompanied by exceptional music and sound from Jarret Hills, Tamsyn Niemandt, Katherine Labuschange and Reine Swart. A beautifully different dystopia from the urban grey we see so much of in films today. Watch the full film here!