BARK: A Review Of The New Survival/Thriller Premiering At Fantastic Fest

Introduction

While there is nothing wrong with big studio productions making a splash at Fantastic Fest, the humbler indie films are the heart and soul of the fest. These gems give rise to new voices in film and refresh the cinematic atmosphere. In the case of Bark, a solid survival thriller by German director Marc Schölermann, the use of simple but clever storytelling can create a worthy and supremely satisfying cinematic experience.

Synopsis

Nolan Bentley, played by Michael Weston (Home Before Dark, The Resident) wakes up tied to a tree in a forest. He is alone, fully dressed, and without much hope of untying himself. After a few days go by, a stranger, performed by A.J. Buckley (SEAL Team) arrives and sets up camp next to him. He calls himself The Outdoorsman and offers Nolan no help. The Outdoorsman is there to make sure Nolan stays secured to the tree during a busy hiking weekend. He also hints that Nolan is tied up for a reason and that he is not there to help Nolan figure that out.

The Outdoorsman is only clear about two things, the first being that Nolan will never get free. And second, the reason he’s tied to the tree makes him a singularly crummy human being worthy of his predicament. As Nolan grows weaker with hunger, exposure, and thirst, he races against time to escape his impossible situation and figure out why he was put there in the first place.

Cinematography

The programmers at Fantastic Fest categorize Bark as a slow burn, single location drama. That it is. However, the film is also jam packed with visual storytelling and plenty of tension. Schölermann executes simple and effective use of camera work that keeps the viewer learning more about the story with every frame. For example, in the first few minutes of the film, even before the title card, the camera clearly catches the wedding ring on Nolan’s finger. It insists that you take note with just the quick flash of gold. 

Another example: days into Nolan’s ordeal, a camera shot captures some berries in a nearby bush. Oh, and doesn’t that dew on the fern look nice for a parched throat? The drops of water twinkle temptingly and we become achingly aware that at least two or three days have gone by without Nolan enjoying a drop of water. Brilliant.

The camera does a lot of heavy lifting in this film. Cinematographer, Peter Meyer and editor, Sören Görth deserve a nod indeed. So much is told with very little dialogue, especially in the first half hour of the film, when Nolan is alone with the tree.

The cinematography includes gorgeous vistas of the forest and stunning sunsets, most likely helping indicate time going by. Or maybe these moments remind you of the bigger picture in life. And how, in a different situation, Nolan might love being out here, enjoying the epic beauty of the place. Or perhaps it is a reminder of how isolated Nolan is, in this great sweeping landscape and that in his current situation, the governing powers of biological needs will lead him to a slow and brutal death. Like any good work of art, there is much to interpret, and the filmmakers lead you through the experience expertly.

Creepy Crawlies

Opposite to these wide shots are the opening tight shots are of worms and insects, burrowing inside rotted wood. They insert thoughts of rot and decay before Nolan is introduced tied to the tree. Perhaps he too is rotten? Or is this foreshadowing of his fate? Either way, there is something foreboding about the insects in Bark.

In fact, there are insects in many of the shots, reminding the audience of the painful discomfort of being tied to a tree, without use of hands to beat at mosquitos. At one point a snail crawls slowly alongside Nolan’s head. He cranes his neck, staring at it desperately, reminding us of the long and grueling hours that have passed.

Dream Sequences

Eventually, Nolan hallucinates and experiences intense nightmares. All normal stuff if you’ve been starving, dehydrated, and sleep deprived for days. The dreams are loud, absurd, and horrible, a perfect counterpart to the endless bird and insect song of the forest.

They make the point that although the world of nature continues peacefully about him, Nolan’s emotions are in an utter tailspin of fear, confusion, and pain. What must this feel like? To be trapped, alone, scared, and not knowing why you were left here. The movie puts you firmly into these thoughts as an important part of the plot. Take note.

Character Development

Nolan begins as a sympathetic character, an everyman, dressed in work clothes, and trapped in a brutal situation. As the audience, we feel his fear, his thirst, his confusion, and it’s hard to swallow. The Outdoorsman comes along and as the two start to speak, we assume him to be a villain. He teases Nolan by wasting water and eating a nice lunch in front of him.

The Outdoorsman is calm and soft spoken. He has a no-nonsense approach and mentions things having to be fair. Fair for what? This is the key to Nolan’s predicament, and as they chat, The Outdoorsman shares bits and pieces of philosophical considerations that directly relate to the reason Nolan is here. And yet, he never reveals enough during their talks for Nolan’s light bulb moment to dawn. Does Nolan deserve this? What terrible crime has this man committed that has gone unpunished? The way the story is told, you can’t help but feel your curiosity pique.

As they chatter away, almost amicably at times, Nolan’s narcissistic personality begins to show itself. He’s manipulative and has an edge of dickishness. And though it’s hard to judge a person when they are starved and painfully tied to a tree, it’s noted that he does not plead immediately. Instead, he’s snarky. He threatens, cajoles, or tries to negotiate. He unwisely slings insults at The Outdoorsman as things escalate and continues to justify his situation to his captor.

Performance & Writing

The dialogue scenes in Bark are genuinely engrossing. Every word these two actors share is captivating and revealing enough to have you wanting more. Partly because both Michael Weston and A.J. Buckley give wonderful performances. They play off each other beautifully and have honest chemistry on screen. And partly because of the tension building in Nolan, should The Outdoorsman abandon him. Even as you lose a sympathetic edge for Nolan, you still walk the journey with him and the going might get really rough.

Helping the talent out is the snappy script. The words are carefully chosen and each line is believable and effective. There isn’t a lot of fluff, every word has purpose.  If you believe The Outdoorsman, they both know a secret locked in Nolan’s memory, or that he doesn’t want to admit. Conversely, if Nolan did nothing wrong, then The Outdoorsman is a psychopath with disdain for wealthy city slickers. The script keeps you guessing and once the secret is out, you can think back and make connections that didn’t make sense at the time. It’s very well done.

In Conclusion

Given the way he crafts a strong, emotional journey by using the simplest tools of cinematic storytelling, Schölermann is a director to watch. This is Schölermann’s second feature film and it shows that this man has a keen eye for capturing an audience. Bark is layered enough for a second viewing if the end doesn’t leave you weeping quietly in your seat, or maybe that’s your thing. Either way, don’t miss this wonderful and tight independent film.

Read more about our Fantastic Fest coverage here:

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