Vesper makes the most of her resources. The new film from filmmakers Kristina Buozyte and Bruno Samper takes place in a futuristic, post-apocalyptic world that feels more well-realized, vivid, and imaginative than any of Hollywood’s current cinematic universes do, despite being made on an obviously lower budget than most other modern sci-fi movies. Vesper’s concept doesn’t do much to distinguish it as a distinctive work of dystopian science fiction, but it doesn’t take long for its imagined other universe to establish itself as an eye-catching new interpretation of the future.
The opening scene of the movie plunges spectators into a marshy, murky environment that initially looks to be eternally shrouded in fog. Vesper shares similarities with other industrialized sci-fi movies like Stalker, which is seen in this image. The rich hues of green and vibrant plants that breathe and reach out to any living thing that gets close to them, on the other hand, start to flesh out Vesper’s futuristic reality as it leaves the hazy wasteland of its opening scene. Thus, while watching the movie frequently gives the impression that you are being taken on a tour through an industrial wasteland, it also occasionally conjures up images of a trip down the rabbit hole and into Wonderland.
Vesper’s dystopian future is similar to the place that Alice famously stumbled into in that it has both soothing and horrifying wonders. Vesper takes place in a world where several biological and genetic experiments gone wrong long ago changed the Earth, a world that is only known by the film’s opening crawl as the “New Dark Ages.” We are informed that these studies were carried out in an effort to stop the ecological collapse of the globe. The globe and all of its people were instead sent hurtling into a reality where trees expand and contract with each breath they take, plants move, and synthetic, multicolored slugs lurk beneath the Earth’s perpetually marshy surface. Instead, they simply accelerated it.
Humanity was effectively split into two factions following the off-screen collapse of the world: the wealthy elites who get to live inside tall, enclosed constructions known as “Citadels” and those who must eke out an existence in the wilds of the movie’s decrepit Earth. The title character of the movie, Vesper (Raffiella Chapman), belongs to the latter category. Fortunately, by the time Buozyte and Samper’s film catches up with Vesper, Chapman’s Vesper has developed quite the skill for survival even in the harshest of environments.Even in the film’s opening sequence, the young protagonist of Vesper must face numerous challenges in order to preserve the life of her handicapped father, Darius (Richard Brake), who communicates with her through a flying drone that follows his daughter everywhere she goes.
However, Vesper’s surprising discovery of Camellia (Rosy McEwen), an unconscious woman, in the woods completely upends Darius and Vesper’s life. In the hopes that she might be able to assist Vesper in leaving the creaky old house that she and her father have lived in for too long, Vesper takes in Camelia, a stranger from one of the surrounding Citadels. However, Vesper is unaware that Camelia is complicit in a plot that not only places some very hazardous targets on their backs but also attracts the notice of Jonas, Vesper’s cruel and domineering uncle (Eddie Marsan).
Notably, Vesper takes its time describing the turmoil that resulted in Camelia’s unexpected meeting with Chapman’s bright young survivor. The script, written by Buozyte, Samper, and Brian Clark, focuses mostly on mood and world-building rather than story development. Accordingly, Vesper’s opening thirty minutes are more concerned with establishing the futuristic environment of the movie and the role that its young heroine plays in it than they are with creating conflict. This may cause Vesper to move more slowly than some viewers would have preferred.
Having said that, it’s simple to understand why the movie’s creative team was more intrigued by Vesper’s complex sci-fi world than by its simple and predictable plot. Vesper’s restricted production budget also hinders it from making its third act as action-packed as its script needs, which results in a number of the movie’s plot twists being rather predictable and predictable. As a result, although while Vesper never really lets go of its audience, the movie’s deliberate pacing and subversive ending make the smallness of its scope very evident.
Eddie Marsan and Richard Brake also contribute to giving Vesper a sense of on-screen authority in the actual movie. As Jonas, a character who takes great satisfaction in the crude ways he has managed to carve out a place for himself in Vesper’s dystopian world, Marsan in particular is especially well-cast. In contrast to him, Raffiella Chapman gives a young but quietly confident performance as Vesper. She is able to emphasize her character’s intrinsic, innocent nature without ever undervaluing her intelligence or ability.
Official Trailer for Vesper | HD | IFC Films
Additionally, despite the fact that Buozyte and Samper’s lesser production budget usually prevents them from delving as deeply into Vesper’s plot as they presumably would have wanted, the filmmakers nonetheless manage to fill it with a steady stream of unforgettable imagery. In one incredibly creative scene, Vesper and Camelia even attempt to avoid contacting a biological weapon that appears as a yellow mold that quickly spreads and covers everything it comes in contact with by climbing onto various chairs and tables.
The fact that Vesper is even able to seem evocative of movies like Minority Report and Annihilation is yet another indication of its capacity to overcome its own financial limitations. The scene in question reminds of comparable scenes in films like Minority Report and Annihilation. Vesper tells a visually arresting and inventive story despite ultimately failing to carry its own plot as far as it probably might have, which is more than can be said for many of Hollywood’s recent sci-fi blockbusters.
Currently, Vesper is available on VOD and in cinemas.