DIRECTED BY: Matthew Wade
FEATURING: Sara Lynch, Annika Karlsen, Michael Webster
PLOT: In the late 1980s (?), a young musician disappears and returns; her father detects something amiss about her, and when she and her friends somehow manage to summon a visitor from the sky, things slowly fall apart.
WHY IT WON’T MAKE THE LIST: The movie has some astounding (and weird) imagery, as well as one of the best film scores I’ve heard in a good while. However, the amateurishness of the effort is apparent throughout, and every time the actors speak, the semblance of magic is destroyed.
COMMENTS: The opening of director Matthew Wade’s first feature quickly transports the viewer to an elsewhere. A synth score blasts an unearthly melody as drab landscapes pan by, all seen on nicely washed-out Super-8 film stock. We see a young woman in her twenties, through canted angles and disorienting close-ups. The scene jumps to a sort-of dream sequence involving brightly colored eggs in a nest by the sea. While watching this, I wrote in my notebook, “Made or broken by voice(s).” This comment, unfortunately, was prescient. At the 12-minute mark, we hear dialogue for the first time, and the dreamy atmosphere evaporates.
All that follows, I am sad to say, is largely a disappointment. The young woman, Gwen (Sara Lynch), is the leading light of a modestly popular but highly respected rock band. Back home after working on an album, she meets up with some friends from her high school days and, while smoking clove cigarettes, they carry on a series of banal meta-conversations about the banality of what normal people talk about. She also reunites with her father (Michael Webster), whose role is under-written and stiltingly acted. Somehow, though, he still comes across as likable (aided, no doubt, by his comparative lack of jadedness and pretense). Meanwhile, the 20-somethings go to a lakeside retreat. Gwen’s friend Pearl (Annika Karlsen) gets pregnant (possibly with a monster-eel thing inside her). A mushroom is found and devoured, a man falls from the sky, and… so forth. On top of this meandering string of events is the recurrence of a mask-like device that possibly has the power to show alternate dimensions, possibly just plays sci-fi audio cassettes (now with video!), and certainly has the power to kill if abused.
At this point I should reiterate that the film score is nothing short of amazing. During scenes with nothing but imagery and eerie synth music, I saw glimpses of potential. In fact, it was almost as if the director had grafted the score from a far superior ’70s cult classic onto his work—the music is much like an amped-up Popul Vol,‘s go-to group. It was an interesting surprise to find that the director (who also wrote the screenplay and edited) was the man behind the music. If nothing else, I’d say that Matthew Wade should have a bright future as a composer.
It’s apparent that How the Sky Will Melt was a labour of love, but also apparent it’s the work of a neophyte. After watching the movie, I found myself confused, but also not interested enough in the fate of the lightly-sketched and uncharismatic characters to invest further thought. There are some beautiful, surreal montages here, and not one, but two great hooks — the cassette glasses and the ominous figure that falls from the sky. But aside from the score, I did not particularly care for this movie. However, I would love to see the director remake this in a few years with a better cast and a firmer grip on the story he’s trying to tell.
WHAT THE CRITICS SAY:
“… you’re a fan of David Lynch’s more bizarre and atmosphere-driven works (i.e. Eraserhead, Lost Highway,Mulholland Drive) and perhaps early David Cronenberg or just experimental film in general, I think you’ll find How the Sky Will Melt interesting and thought-provoking.”–Jacqui Siler, Film Inquiry (contemporaneous)