In Roxy Shih’s Beacon, an ambitious young woman, Emily (Julia Goldani Telles), finds herself trapped in the company of a man, Ishmeal (Demián Bichir), who may, or may not, mean her harm. Emily ends up in the tricky situation after a storm dashes her attempt at a solo trip across the ocean and leaves her shipwrecked at an isolated lighthouse.
Beacon doesn’t waste any time in throwing Emily into her saviour’s arms, with only a couple of short scenes featuring Emily documenting her adventure on camera, proceeding the shipwreck. The crash itself happens off-screen. This move ensures that the audience, like Emily, are uncertain which of Ishmael’s words can be trusted. The gender interplay makes for fascinating viewing, especially as Ishmael goes against many of the expected red flags. The earlier half of Beacon is akin to the opening third of Barbarian, which finds the viewer unsure of Bill Skarsgård’s character Keith’s intentions. Unlike Barbarian however, which races off into comedy and the absurd, Beacon remains taut and tense. Shih keeps the viewer on a cliff edge for as long as possible.
As Emily’s mistrust waivers due to Isnmael’s seemingly green flag manoeuvres, attention turns to tales of sirens. Despite their long history with sailors as something to be feared, not enough films or television shows focus on these deadly females, and their introduction here seems to redress the balance between Emily and Ishmael. She may be alone with him, but he believes in sirens and his superstitions help keep him in line. It is an interesting dynamic to see play out, more so when a gradual unease creeps back in. Paranoia and distrust take over and the final act will leave the viewer uncertain of who to route for. This ambiguity is sure to make for an intriguing reaction for audiences; will men side with Ishmael, and women with Emily, or are there more shades of grey to be investigated?
Shih does a brilliant job at creating tension and she seeks to maintain it by constantly unseating the viewer. Just when they think they have Beacon figured out, a new piece of information is revealed that spins everything on its head. As the plot thickens, the mood darkens, and like the sea that surrounds the lead characters, this is a narrative that is murkier than it is clear. Selling every aspect of Julio Rojas’ script are Julia Goldani Telles and Demián Bichir. The pair work fantastically together and meld seamlessly from being viewed as friends, lovers, father and daughter, and mortal enemies, as the viewer’s perspective changes throughout. They have amazing chemistry; whether playing as happy families, or circling each other menacingly, it makes for thrilling viewing and the audience will struggle to keep their eyes off of them.
Beacon is yet another film to highlight that working as a lighthouse keeper might not be the best of occupations. Its reliance on tension allows a dread-soaked atmosphere to cloak the piece, and the plot’s ever-changing allegiances and drip-feeding of information ensures that the audience will be hooked as they wait for the outcome.
Beacon
Summary
A taut and tense thriller, Beacon pits man against woman, superstition against logic, and man against the elements, with brilliant results.
Beacon was reviewed at TriBeCa 2024.
