Monstrous Disunion (2020)

Miserably for the masses, a merged nightmare of polarization and pandemic continues to exercise dominance without escape, an occurrence that offers a painful rebuttal to the varying shades of grey platitudes that once seemed golden. Trust, I understand the omnipresent fatigue due to the existing political conditions and the disinclination for more, but golly gee, have I ever got a suggestion for you — a politically driven satirical horror!

Co-written by director Jackson Batchelor along with Sam Mason Bell, Monstrous Disunion is a collaboration that offers an insane detour from the norm. Headed by actress Jessamie Waldon-Day amongst a talented ensemble, this 68 minute feature steadily rises over the duration without fade, leaving you with an equally lingering sense of revulsion and cautious optimism. Dialing back the clock to Brexit, this rehash takes place in the midst of a virus-induced monster movie ladened with tension, paranoia and conflict. Drawing heavily on recent events, Monstrous Disunion fairs cinematography and messaging, and administers a dose of reality and reflection in a most ridiculous manner.

Coming about on the morning of the EU Referendum, popularly referred to as Brexit, the film appropriately opens with a morning broadcast whisk of headlines and opinions. With political commentary serving as background noise, Anne (Janette Evans), wife of Mark Baker (Martin W. Payne), and mother of Maddy (Waldon-Day) and Pete (Connor Mellish), is busy preparing breakfast.

The Bakers, along with Maddy’s accompanying college camp, Jas (Alexandra Robertshaw) and Mikey (Ryan Carter), soon gather around the table for a meal and jaw. As everyone finishes up and readies to tend their daily pursuits, Anne, bless her heart, arranges dinner plans for later in the evening as the Brexit results near, unintentionally setting off a ticking time-bomb given the uneasiness and differing opinions due to the uncertainty surrounding the country’s path.

Faring ahead, the conventional wisdom of avoiding politics at the dinner table disregards predictably, and damaging exchanges begin taking place as ideologies clash. However, the quarrel is momentarily hushed when the sound of shattering glass leads to the discovery of Nigel (Simon Berry), a neighbor gone feral. By and by, reports of a mysterious viral outbreak turning people into vicious pig-monsters begin to trickle out, muddying the waters all the more whilst again flaring tempers, alas, splintering everyone along political lines.

Worse, the origins and transmissions of the outbreak remain unknown, leaving rampant disinformation and conspiracies to stoke the fire as the bulk of the populace become infected. As you can imagine, all hell breaks loose as the country plunges into chaos at record speed, begging the question, is everyone infected and wallowing in the metaphorical shit?

Boldly taking advantage of a soured political climate to give a lampooned reflection of our polarized society, Monstrous Disunion proves to be an entertainingly chaotic spectacle that gushes with purpose and meaning. In doing so, it reveals a deep rot hiding in plain sight with a paralleling in-your-face vantage, forcing confrontation and contemplation. Although this one merits attention in several respects, as it is benefited by a creative story, rounded performance, and an original apprehensive score (by Rusty Apper) that is perfectly synchronized, it is the messaging and cinematography that captures the moment.

With this in mind, the messaging is effective and profound. Taking on uncomfortable affairs with artisanship, writers Jackson Batchelor and Sam Mason-Bell deliver a message that not only resonates in their backyard, but abroad, regardless of where your plot of dirt is located. Exploiting stereotypes and generalizations without bend, they issue a troublesome rendering of what we’ve collectively become due to political toxicity and subsequent polarization: pig-headed monsters. They employ a light, satirical approach for conveyance in a remarkably clever manner to collectively lower the boom.

Notably, the glaring cinematography is a visual feast. Coming as no surprise to anyone familiar with his work, varied cinematographer Sam Mason-Bell once again achieved purity in the optical realm. With much success, Monstrous Disunion is filmed in a monochrome aesthetic that is evocative of horror films of yore (ahem, Night of the Living Dead — and peep the font used in opening/ending scenes), mimicking in terms of feel and behavior. Mason-Bell carefully techniques framing and angles, and manipulates lighting to give a presentation that exalts emotion and deepens an associating unease. As well, the creative decision to shoot in black-and-white is a nice bit of subtleness that nods to the state of disunion and prevalent polarization.

In spite of all the Monstrous Disunion glory, there was one area of minor disappointment, the special effects. It’s not that they were bad by any means. In fact, they were mostly well executed, but blotted by very minor lapses. For example, one scene momentarily exposes patchy blending and concealment on one of the pig monsters. Additionally, the pig teeth were too new, so to speak, as the overly white gave a phony appearance. Even still, they’ve created a pig monster that was up to snuff, so all’s well that ends well.

As has been noted, Monstrous Disunion applies a proven framework with a contemporary crumple. Expressively, it’s a conscious labor that underscores societal ills, remedially offering exaggerated introspection, while exhibiting glaring cinematography and profound messaging, amongst other quality attributes. If a highly entertaining, PTSD triggering attraction with a birds eye view is what you seek, Monstrous Disunion is what you’re searching for.

8.5 out of 10.