Writer/director Jan-Willem van Ewijk’s Alpha is visually interesting, well-acted and centred around a really interesting family dynamic, even if it doesn’t quite stick the landing.
Writer-Director: Jan-Willem van Ewijk
Genre: Drama
Run Time: 100′
Venice World Premiere: September 4, 2024
U.S. Release Date: TBA
U.K. Release Date: TBA
Jan-Willem van Ewijk’s Alpha is a film that riffs on the already established dynamic of real-life father and son, equating the difficulty of navigating familial relationships with surviving genuine danger. It’s a gamble that pays off for the most part, even if the final act may leave some audiences unsatisfied, and it’s a really well balanced, acted and creatively designed film that elevates what could have been a simple and clichéd survival story to something with a bit more poignancy and depth.
When his father Gijs (Gijs Scholten van Aschat) comes to visit, Rein (Reinout Scholten van Aschat) finds himself butting heads with his extroverted old man as he integrates him into the life he has built after escaping Holland for the Alps. But when Gijs’ behaviour really gets under his skin on a pretty arduous hike, Rein stubbornly carries on despite his dad’s objections. The weather turns unexpectedly and the pair are left stranded, so it’s up to them to overcome any differences and make it through the night.
The main source of drama, conflict and tension in Alpha comes from the relationship between father and son. At first, things are awkward and strained as they struggle to make conversation and be in each other’s company. Then things are almost combative, as Gijs’ extroverted nature sees him all but flirting with Rein’s not-quite-girlfriend Laura (Pia Amofa) and Rein acts out – in a stubborn, almost childishly petulant way – in response. But when they are left at the mercy of both nature and each other, their petty squabbles are inconsequential in the face of real danger.
The dynamic between Gijs and Rein throughout the film is heightened by the fact that the actors are genuinely father and son. There’s an inherent chemistry and naturalism to every scene between them as a result, as well as an easy and casual nature to the way they inhabit the same space. It’s obvious, even if their real-life connection isn’t. Rein has perhaps the biggest shift over the course of Alpha’s narrative, going from reluctant and embarrassed son to survivalist in the matter of an afternoon, but Scholten van Aschat gives a really convincing performance. And while both give performances that err on the side of subtle, they are certainly not without feeling.
Alpha places a lot of emphasis on the mountain, with Douwe Hennink’s cinematography showcasing the awe-inspiring and stunning beauty of the scenery. The mountain is both Rein’s safe space, where he escaped to after the death of his mother, and a symbol of his and Gijs’ difficulties, as a perilous obstacle to overcome that’s imbued with so much meaning. The sequences wherein Rein and Gijs are skiing down it, shot from high above to emphasise how isolated they are, are really effective. In fact, there are many instances of interesting and effective framing and camerawork, adding dimension to a film that could easily have become a by-the-numbers survival tale.
And for a brief second, the film does appear to be going that way. Rein and Gijs’ unexpected peril as they’re left stranded and fractured – both literally and emotionally – feels like the tipping point for the tension that van Ewijk has carefully built throughout the film, and it lulls the audience into assuming that they have worked out how the rest of the film will play out.
But then it shifts, quite abruptly, and takes a turn that might be the film’s only bum note. Perhaps it’s misleading to call it a twist, but Alpha’s final act is strange enough that it might well leave some audiences unsatisfied, especially with everything else being so carefully curated. On the whole though, Alpha is atmospheric, thematic and visually stunning. It’s well balanced tonally, with discordant and almost eerie nature to the soundscape from designer Vincent Sinceretti aiding the tension, alongside affective music from Ella van der Woude.
Alpha is van Ewijk’s exploration of a father/son dynamic, with a stunning backdrop upon which the film’s emotional core and the bulk of its dramatic mean rest. It’s a film that knows when to zoom in and when to zoom out, using the landscape to emphasise the isolation of its central characters and pit nature against them. It doesn’t necessarily stick the landing, but it is bold and deliberate enough to certainly intrigue audiences regardless.
Alpha had its World Premiere at the Venice Film Festival on September 4, 2024, as part of Giornate degli Autori. Read our review of After Party!
