Review: If you're fresh from watching other shoe-string, budget films from auteur-directors such as Loach, Leigh or Meadows, you can may be disappointed by Hyena's lack of depth, knowledge of film-theory, and its inability to push the calibre of actors (such as Stephen Graham) to their potential. Nevertheless, the narrative is gripping and the film quickly drags you to hell with it.
Unrecognisable from his Nielson-esque portrayal in 'Tony'; Ferdinando's portrayal of bent-copper Michael is hugely exciting. The actor has a screen-presence that forgives some of the clumsier plot-devices and line-delivery, which often detract from the films strengths. Like Cimino and Cassavetes, the excellent use and direction of non- actors (mainly in the form of the Albanian-mafioso, antagonists), added the extra-dimension which 'Hyena' may have lacked otherwise. Elisa Lasowski's performance is also superb throughout.
In terms of content, 'Hyena' should be commended for its unflinching look at the realities of modern London; policing, immigration and human trafficking. Equally in terms of form; for its long-takes, use of improvisation, realism, use of non-actors, powerful narrative and performances. Much like in 'Tony', Johnson's thematic and aesthetic portrayal of big-city isolation, alienation, paranoia and nihilism through a dirty glass is palpable; and should be commended.
Both 'Tony' and 'Hyena' should have been given a lot more PR on its release, as well as the praise they deserves for its bravery and unflinching glance at a very modern London.
Unrecognisable from his Nielson-esque portrayal in 'Tony'; Ferdinando's portrayal of bent-copper Michael is hugely exciting. The actor has a screen-presence that forgives some of the clumsier plot-devices and line-delivery, which often detract from the films strengths. Like Cimino and Cassavetes, the excellent use and direction of non- actors (mainly in the form of the Albanian-mafioso, antagonists), added the extra-dimension which 'Hyena' may have lacked otherwise. Elisa Lasowski's performance is also superb throughout.
In terms of content, 'Hyena' should be commended for its unflinching look at the realities of modern London; policing, immigration and human trafficking. Equally in terms of form; for its long-takes, use of improvisation, realism, use of non-actors, powerful narrative and performances. Much like in 'Tony', Johnson's thematic and aesthetic portrayal of big-city isolation, alienation, paranoia and nihilism through a dirty glass is palpable; and should be commended.
Both 'Tony' and 'Hyena' should have been given a lot more PR on its release, as well as the praise they deserves for its bravery and unflinching glance at a very modern London.