Sitting down to write this review is an adventure in itself. One needs to re-enter the swirl of emotions, the cascade of events and the full commitment of cast and crew and relive all the wonderful details in “The Generator”. But let’s start from the top.
The mastermind behind the creation. The man who, due to unforeseen circumstances, allowed his sleepless 3 am wide awake mind to simply write.
Rudy Carpio has been in Europe for 16 years. From El Salvador, he travelled to Norway, Spain and then the UK (London). Along the line, he directed many short stories but this first feature film is his pride and he is incredibly happy with the result, even though «it’s very different from the original idea».
Asked to describe the movie in one sentence he quickly smiles and says: «virtual world meets human touch». And that’s where it starts to get really interesting.
The chance to talk to him before seeing any footage allows me to discover his favourite directors (David Lynch and Roman Polanski) and to learn that this creation was so international that the main actor came from Australia, the poster was done in Norway and the sound edited in Manchester. Talk about globalisation!
‘The Generator’ director, Rudy Carpio
But back on track. When we sit down it is very clear it is an independently supported film we’re about to watch, but as the scenes unfold we are slowly taken in and our perception and senses are challenged at every scene.
The actors had only actions, a draft of an idea, and it was up to them to develop each character, maintaining truthfulness to the original concept.
Rudy, not only wrote and directed ‘The Generator‘, but also led the workshops where every scene was created. And with that, you have pure gems. For me, the stand out is Jane Hayward, whose eyes and steadiness tell you so much more many others struggle to show in overly done actions and faces. She plays ‘Mona’, and is present in most of the scenes I remember vividly.
The leads, Australian Wesley Forke and British Monica Wadwa, take the drama to its course and perform some heartfelt, and sometimes very technical-wordy, scenes.
Even though the narrative is sometimes hard to follow with many jumps between (let’s call it) “realities”, they do the best they can, leading us in the toil of emotions we are thrown at every step of the way.
Some of the shots are jaw dropping, and I can still clearly remember the beauty in the simple steps or the magnificence of the dinner scenes.
This is not only due to Rudy but to cinematographer Ariel Artur.
It is a great first feature for Carpio, and without a doubt, it will lead him to great paths, for the more he learns the greater art pieces he’ll create.
If you can, see ‘The Generator‘ and keep your eyes on Rudy!
(Tania P. M.)
Keep updated on the project through the following link: