Midlands Review of Patriot
midlandsmovies • September 11, 2021
Patriot
Directed by Idriss Assoumanou
2021
How can there be compassion in a world full of so much hate is the question asked in a new West Midlands drama from local director Idriss Assoumanou.
The filmmaker begins his 20 minute short with the sound of a crowd singing God Save the Queen with nationalism and identity being themes that permeate the story we are to be told.
We are introduced to a young man (an introspective Isaac Beechey) who is watching Britain First videos on his phone in the park. The films shows accessing these sort of extremist opinions can be as simple and easy as watching online. But the film also reflects how these seemingly small actions lead can lead to far larger and more dangerous views. And further down the line, it goes beyond extreme language into real-life brutality.
After draping himself in an England flag and embarking on a bus, he stares out the window watching the Asian community around him with a sense of resentment and anger.
After receiving a call he meets his friend (Corey Thompson) and together they attack an Asian man (Shaiek Ahmed Rana) in an underpass and film their violent assault on a mobile phone. Again, we see the permeation of social media and menace of online radicalism whilst they watch the footage back in amusement.
The film very much concerns itself with race relations and national identity. It also builds upon the themes of one of the director’s last films In the Midst which also looked at extremism. But it also explores the notion of image and appearance. How people “look” – whether racially, culturally, amongst their peers or on social media – is alluded to in almost every scene.
The boys then meet up with a more senior local hard-man (a frightening Matt Fearnley) and we discover that the incident forms part of an initiation into a larger squad. The older man even encourages the two friends to be violent towards each other showing how outward aggression even forms a big part of their internal group.
The technical elements are great with sweeping camera shots, emotional close ups and clear editing to get the subject matter, and its deeper connotations, across to the audience.
The great script by A R Ugas sees the use of phrases like “cause”, “the soldier is out of the barracks”, “rank” and “enemy” scattered throughout - with the racist group using military terms to make their actions seem like a symbolic war.
The story continues as we find out their friend Michael (Josef Hyland) is to be released from prison and they meet in a playground – ironic given their immature and puerile view on the world. Despite Michael saying he was originally consumed by revenge, he is in fact suspected by the others of being an informant as it’s revealed his 15-year sentence became just 3 before his release.
The film concludes with a number of surprising twists. I won’t spoil them here but they really help make the somewhat familiar character types and narrative go in fascinating new directions. Less up my street was the use a strong orchestral score which, although powerful, felt overused. The final 5 minutes of the film, right up until the credits, seems like the whole orchestral suite was played in full.
A slice of silence may have allowed the audience to breathe when so many dramatic beats come to a head. However there is a bit of respite at the end which delivers a show of mercy to offer some hope in an turbulent world.
In the end though, Patriot is another strong showing from one of the West Midlands’ best directors. Assoumanou has a strong voice with a lot to say about the current state of the UK and gives individual stories their place amongst larger societal issues.
With themes of radicalisation, retaliation and redemption, Patriot delivers an unflinching look at the terrible consequences of radical violence – both physical and psychological. Yet against this horrifying problem, the film’s powerful ending waves a flag for even the smallest of chances for compassion and healing.
Michael Sales
We bring even more local talent who, without forgetting where they've come from, have had very illustrious and recognised careers in the film industry
The Midlands is home to a huge pool of talent – both on and off-screen – and although many of these names are synonymous with the region, others, who definitely hail from the area, may be more of a surprise to hear about. These local creatives moved onwards in their careers, building upon their local upbringing and education in the arts and headed to larger projects and some even delved into the world of glitzy Hollywood. So, away from the legends such as Lenny Henry (Dudley), Julie Walters (Smethwick), John Hurt (Chesterfield) and director Shane Meadows (Uttoxeter, Staffs) we’re going to look at a few recognisable names who, sadly, don’t always make you think of our marvellous Midlands. Yet you definitely should do!
This slice of life film tells the story of a professor at Yale University, who learns from her star student, that her fellow professor and close friend has crossed the line. As she navigates these feelings, she struggles to keep her own dark past coming to light.
Only Monsters play God. The oldest science fiction story in the world, is a tale about an egotistical mad scientist trying to conquer death, by reanimating a monster made of various body parts. What will Victor Frankenstein do when he creates life? How will the world react to something so grotesque?