Are you ready for a story? About a boy who puts his family in a bunker against their will? Then let me tell you about “John and the Hole,” the feature directorial debut of artist Pascual Sisto that debuted at the 2021 Sundance Film Festival after initially being selected for the 2020 Cannes Film Festival in May. A film that fashions itself as a parable for teenage adolescence and strife but muddies the waters so that when it comes to an end it all feels quite empty instead.
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The John in question, impressively portrayed by 13-year-old Charlie Shotwell, lives in what one would describe as a wealthy modern home somewhere in the forests of New England. He is committed to his tennis lessons, plays video games virtually with his best friend Peter (Ben O’Brien) who recently moved out of town and might be a tad obsessed with death (in the least overt way possible). His parents, Brad (Michael C. Hall) and Anna (Jennifer Ehle), appear neither overly strict nor passively indifferent when interacting with him. Even his older sister Laurie (Taissa Farminga), finds ways to deescalate sibling conflicts with respect as opposed to descending into competitive screaming matches. John does seem, however, for lack of a better word, “off.” He asks confounding questions at times and even for a teenager his social awkwardness is somewhat beyond the norm.
One day, John engages with the family’s gardener, Charlie (Lucien Spelman) while he’s hard at work. When John notices a garden spider on Charlie’s back he puts it on his hand to show how safe it is. Surprisingly, the spider bites him. A few minutes later, John watches from his window as the gardener passes out from the bite. An idea is born.
The next morning, John’s parents and sisters wake up to find themselves trapped in an unfinished bunker their neighbors had commissioned just a few years ago. While within walking distance of their home it’s still far enough into the forest where no one can hear their cries for help. John brings them some food and water but won’t reply when asked why he’s cast them away. If they’ll be rescued or left to rot is unclear and for a time that mystery is genuinely captivating.
As John begins his “Home Alone” adventure you’ll wonder if he’s a psychopath, sociopath, or just a kid whose whimsical game got a little out of hand. But that’s exactly when reality starts to crack the façade Sisto and screenwriter Nicolás Giacobone (“Birdman”) have crafted. Again, the screenplay wants this tale to be a parable, but as time passes it can’t sustain the logic of the world it’s attempting to play in. Giacobone also includes a minor narrative thread featuring a mother (Georgia Lyman) and a daughter (Samantha LeBretton) that is simply redundant.
Aesthetically, Sisto and cinematographer Paul Ozgur shoot the film in a 4:3 aspect ratio. Does that add anything to the tension or tone of the film? Not particularly, although Ozgur displays genuine talent in the other aspects of his craft. No one would deny Sisto clearly has a vision of what he’d like to accomplish and shows flashes of humor here and there, but the almost overt influences of any number of other filmmakers (Michael Haneke, Yorgos Lanthimos, and Sean Durkin immediately come to mind) have the cumulative effect of making the proceedings feel numbingly familiar.
The saving grace of the endeavor is that second act that keeps you guessing. Hall, Ehle, and Farminga level the proceedings enough that you’re actively rooting for them to escape and it’s fascinating to watch their characters blunt their anger at Jon’s actions. You want them to lash out more, but they don’t. They are patient. And yet, when that answer is revealed it just leaves you wanting.
[B-]
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