In Sound of My Voice and Another Earth, writer/actress Brit Marling and her creative teams focused on fairly abstract emotional topics and themes, from how a cult community manipulates new recruits to how mourning the death of a loved one interacts with the existence of an "alternate reality". Both are smart, boundary-testing challenges that operating in philosophical gray areas, but the topics are somewhat limited in their appeal to a larger audience, lacking a universally embraceable premise. The East, Marling's second collaboration with director and co-writer Zal Batmanglij, focuses their talents on a more widely-relatable and well-timed subject: the corrupt practices of corporations that are destroying the earth and its population, and the extremists fighting against them. A clash of company ethics and revolutionary retaliation rests at the heart of this smart and exhilarating thriller, yet the messages it conveys are secondary to how someone on the outside, someone compelled simply by the counterculture and the root of the problem, perceives them both.
That person is
The East marks Marling and Batmanglij's first opportunity to flex their muscle with a more considerable budget (~$6m), which can be seen in the scope and detail of the sensations built around the collective's operation. Through the eye of End of Watch cinematographer Roman Vasyanov, they've taken strides to make the dilapidated hideout an organic, believable hub for their planning and togetherness, where little details such as an echoing piano offer hints to the life that once existed inside its now weatherworn walls. Shades of the cultish oddness from Sound of My Voice emerge in their candlelit and outdoor activities, such as a peculiar dining sequence that challenges Sarah's nature and another involving the significance of a "thrill-kill" deer in the wilderness, but the writers know what they're doing by applying restraint and appeal to their activities, offering a blurry viewpoint on the extremists that gradually comes into focus -- and out of focus -- through Sarah's experiences. From how she originally penetrates their hideout to how she and her organization have planned several steps ahead to thwart being compromised, there's a clever, reactive foundation here for a purpose-driven thriller.
A tricky line separates respect for The East's way of living and validating their hostile actions, one that Marling and Batmanglij skillfully tiptoe with Sarah's stints inside the group. Obviously, she couldn't successfully infiltrate them without following through with a few of their orchestrated "jams", which become the root of the film's meaningful suspense as its members seek equal retribution for corporate transgressions. While some tension brews over whether the anarchists will execute their plans against pharmaceutical companies and energy behemoths -- they're small-scale ploys with big impacts, well within the film's achievable scope -- much of the intensity roots in how Sarah participates with what they're doing, from her level of safety and knowledge to her lack of conviction towards The East's spinning moral compass. Mostly, the script cleverly avoids appearing too heavy-handed around the group's rationalization for their actions, incorporating its well-drawn characters by attacking specific organizations as recompense for their loyalty; each member has a story, which becomes the backbone to the jams Sarah experiences.
To its benefit, The East concentrates on the societal problems driving the group's counterculture mentality almost as much as their revolutionary tactics, along with how Sarah's perceptions -- on corporate secrets, radicalism, and alternate solutions to problems -- adapt while living in their bare-boned existence. Brit Marling remains a mesmerizing powerhouse: she's an actress who exhibits both consistent traits and fresh, subtle personality shifts depending on the character she's embodying, and she manages complexity to spare with Sarah. Watching her figurative eyes open as she experiences what The East has to offer, both the community and the hazardous extremism, isn't the obvious flip-flop one might be expecting. Instead, she establishes her own understanding based on raw facts and the people with whom she's interacted, namely the brooding conviction that Alexander Skarsgard distills in Benji and the skeptical bitterness from Ellen Page's Izzy. Performances are crucial when conveying personal stories of resistance that blur the line between objective retaliation and personal vendetta, and the cast here thrives on their characters conveying mutual empathy through false identities.
At its core, though, The East thrives on its own merits as a nailbiter of a morally gray spy/espionage thriller, where the danger of revealing Sarah's identity and curiosity over where her allegiance will ultimately lie are what send the film towards an emotional livewire of a conclusion. A simple scene near the end catalyzes our perception of the ideological and emotional turmoil going through her mind, a teary breakdown during her everyday routine backed by a poignantly selected track of popular music, which lingers in the mind as decisions are made and gears put in motion for The East's final "jam" -- and the last opportunity to capitalize on her infiltration emerges. While restrained and somewhat questionable, it's an engaging climax that allows for Sarah's evolution to claim the spotlight during an intense escalation, and unlike the conclusion to Marling and Batmanglij's previous film, it paints a graspable, convincing portrait of what the main character perceives to be her philosophical true north.
Video and Audio:
With the talent of cinematographer Roman Vasyanov capturing the dim lighting of a decaying house, the secluded woods, and the stiffness of metropolitan office spaces, The East's cohesive and purposeful visual tempo discovers many opportunities to shine in its 2.35:1-framed, 1080p Blu-ray treatment. Scenes in nature cradle vibrant greens and delicate rays of light reacting to the characters, revealing depth and palette stability that can be quite impressive. Darker scenes inside the musty, green walls of The East's base of operations focus on complexity of fine textures and nimble black levels, which give their domicile more than a few picturesque moments of HD impressiveness. Also, several scenes -- namely Sarah's "introduction" to the group and one of their jams -- take place at night, and thankfully those scenes navigate the darkness and the glow of warm orange light with stability to spare. Depth, skin tones, and some intriguing textures in clothing and close-ups round out what's ultimately a very rewarding visual experience from Fox.
The 5.1 Master Audio isn't allowed many moments to stand out, but the focus on dialogue and ambient stability makes for a terrific and fittingly understated sonic experience. There are a few instances with engaging sound effects, such as the rush of water from a sewage pipe and the spinning of a win bottle, which react suitably to the sound design. Mostly, though, the track hinges on its ability to create a natural environment and deliver verbal clarity, which it does exceptionally well. Brit Marling's soulful voice sounds velvety and responsive to her environments, while Ellen Page's higher-pitched intensity and Alexander Skarsgard deeper rumble successfully test the threshold of the upper and lower ends of the spectrum. The score from Halli Cauthery and Harry Gregson-Williams sounds excellent and maintains the slow-simmering pace without any distortion, while the rear-channels are mostly reserved for slight ambient touches -- namely forest sounds -- that could go unnoticed if you're entranced by the film. English SDH and Spanish subs are available.
Much like Fox's presentations of Sound of My Voice and Another Earth, The East arrives with a moderate list of special features that end up being very brief snippets, all lasting around three minutes and including interviews with the cast/crew and behind-the-scenes shots. The East Exposed: The Story (3:08, HD) offers a perfunctory outlook on the plot's makeup and purposes, while Off the Grid: Creating The East (3:10, HD) springboards off those basics and discusses the writers' motivations and experiences living with off-the-grid activist collectives for a summer. Casting The East(3:16, HD) discusses the actors' willingness to work with such a passion-driven and topical project, and Two Brothers: Collaboration (2:33, HD) takes a moment to discuss Zal Batmanglij's brother, Rostam from Vampire Weekend, and how his music impacted the film. Cause and Effect: The Movement of The East (3:08, HD) and Examining the Moral Gray (4:28, HD) tackle similar topics in different ways: one in the style of the previous features, and the other in a broader Q&A session with Batmanglij and Marling led by The New Yorker's Malcolm Gladwell.
Also included are a series of interesting but inessential Deleted Scenes (4:46, HD), save an "alternate ending" that seems like it'd add a different spin on the ending's tone (with a little added extra material), as well as a Theatrical Trailer (1:07, HD). Also, an Ultraviolet DigitalHD slip has been included.
The fabled "sophomore slump" hasn't impacted the second feature-length collaboration between Brit Marling and Zal Batmanglij, as The East showcases what the provocative filmmaking duo's point-of-view can accomplish with substantial resources and a topic with broader appeal. What results is a sharp, relevant eco-terrorist thriller focused on widespread frustration with consumerism, the willful negligence of corporations, and the dangers of idealistic extremist groups who feel obligated to take justice in their own hands. At the center of it all stands Sarah, the spy who infiltrated their collective, whose unpredictable and discernible shifts in loyalty come together into a study of a person persuaded more by activism and counterculture than volatile retaliation. Its message comes on a bit strong and a few dramatic moments felt a little easy, but overall it's a well-crafted and enthralling suspense-drama that intelligently dabbles in moral ambiguity. Highly Recommended, both the film and the great-looking Blu-ray.