The only thing frostier than the snowbound forest landscape of Tibetan director Jigme Trinley’s impressively lean yet woozy thriller debut is the air of mutual hostility and suspicion that ex…
The only thing frostier than the snowbound forest landscape of Tibetan director’s impressively lean yet woozy thriller debut is the air of mutual hostility and suspicion that exists between its four duplicitous, taciturn characters. “One and Four” may be produced by leading Tibetan auteur Pema Tseden, and may provide yet another great showcase for the befuddled expressivity and shambling physicality of Tseden’s recent go-to star.
And already, the camerawork, from Tseden’s regular cinematographer Lv Songye, has given everything a gently lurid, horror-tinged edge: Slightly fish-eyed close-ups distort the images, making us subconsciously question how much of what we’re seeing can be trusted and how much is the product of Sanggye’s groggy imagination, especially given his tendency to write about his dreams in his forest ranger’s logbook.
The cabin does occasionally feel like a stage on which a borderline-Beckettian absurdist fable is being enacted, though quite what is being allegorized is never very clear: Trinley doesn’t seem to have much of a political agenda, and the social commentary that veteran Tseden embeds in his offbeat, novelistic dramas is all but absent. At other times, the film plays like that game where one person in a group is assigned the role of “murderer,” and the others all have to find out who he is.
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